#but also because i like to think about the developments of their characters and the people surrounding them

[felassan]

EuroGamer: 'BioWare knew the deepest secrets of Dragon Age lore 20 years ago, and locked it away in an uber-plot doc'

Original creator David Gaider on how "some of the big mysteries are being solved".

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

"As I write about the secrets hidden in Dragon Age's mysterious Fade, and as I uncover some of them playing Dragon Age: The Veilguard, one question keeps rising up in my mind. How much did BioWare know about future events when first developing the series more than 20 years ago? That's a long time, and back then BioWare didn't know there would be a second game, which is why Dragon Age: Origins has an elaborate and far-reaching epilogue. Why lay so much lore-track ahead of yourself if you don't think you'll ever get there? But look more closely at Origins and there are big clues suggesting BioWare did know about future Dragon Age events. There are obvious signs in the original game, such as establishing recurring themes like Old Gods and the Blight and Archdemons. But there's also Flemeth, Morrigan's witchy mother, who's intimately linked to events in the series now - more specifically: intimately linked to Solas. Does her existence mean Solas was known about back then too? There's only one person I can think of to answer this and it's David Gaider, the original creator of Dragon Age's world and lore. We've talked before, once in a podcast and once for a piece on the magic of fantasy maps, where we discussed the creation of Dragon Age's world. And much to my surprise, when I ask him what he and the BioWare team knew back then, he says they knew it all. "By the time we released Dragon Age: Origins, we were basically sure that it was one and done, but there was, back when we made the world, an overarching plan," he says. "The way I created the world was to seed plots in various parts of the world that could be part of a game, a single game, and then there was the overall uber-plot, which I didn't know for certain that we would ever get to but I had an understanding of how it all worked together. "A lot of that was in my head until we were starting Inquisition and the writers got a little bit impatient with my memory or lack thereof, so they pinned me down and dragged the uber-plot out of me. I'd talked about it, I'd hinted at it, but never really spelled out how it all connected, so they dragged it out of me, we put it into a master lore doc, the secret lore, which we had to hide from most of the team.""

"This uber-plot document was only viewable on a need-to-know basis, he says, and only around 20 people on the team had access to it - other senior writers mostly. And even though Gaider left the Dragon Age team after Inquisition, and then eight years ago BioWare altogether, meaning he didn't work on The Veilguard at all, he believes - by looking at the events in the new game - his uber-plot lore "has more or less held up". That's impressive. What's even more impressive, or exciting, is that back then he also envisaged a potential end state for the entire Dragon Age series - a point at which it would make no sense for the series to carry on. "I always had this dream of where it would all end, the very last plot," he says, "which I won't say because who knows, we could still end up there. But the idea that this uber-plot was this sort of biggest, finite... That the final thing you could do in this world that would break it was there as a 'maybe we would get to do that one day'... There was just the idea of certain big, world-shaking things that were seeded in that arc, some of which have already come to pass, like the return of Fen'Harel." You've read that correctly: the idea to have Fen'Harel, also known as the Dread Wolf, reappear, was seeded all the way back then, way before Inquisition - the game in which he does actually reappear. But the concept for Solas, as a character who was Fen'Harel in disguise, was a newer idea. "That spawned from a conversation I had with Patrick [Weekes] and a number of other writers," Gaider says, "as an idea of 'what if you had a villain that spent an entire game where he's actually in the party and you get to know him?' Now, the god version and his larger role in the plot, yes that was known, but not that he would be presented as a character named Solas." Fen'Harel being known about means the other elven gods were known about, which means all of that stuff Solas reveals about his godly siblings - that they're not gods at all but evil elven mages he locked away behind the Veil - was known about back then too. "Oh yeah," Gaider says. "Everything that Solas tells you [at the end of Inquisition DLC, Trespasser]: it's all part of that original uber-lore - that was all in our mind." But why have so much lore if you're not certain you'll get to ever realise it? Well, to create a believable illusion. By creating an "excess" of lore, as Gaider describes it, Origins made Thedas feel like an old and believable place. A place with history, rather than a Western set that was all facade and no substance."

"BioWare also did something canny with the lore it did relay then, too: it shared it through the voices of characters living in the world, making it inherently fallible. In doing this, Dragon Age veiled its truths behind biases. The church-like organisation of the Chantry proclaims one truth, while the elves and dwarves proclaim another. Sidenote: you can experience this yourself through different racial origin stories in Dragon Age: Origins. This way, there's no one, objective, irrefutable, truth. "To get the truth, you kind of have to pick between the lines," Gaider says. So even though elven legends are coming true through the existence of Solas and The Veilguard's antagonist gods, it doesn't mean that's the one and only truth. There's truth in what the Chantry teaches and what the dwarves say, he tells me, which ignites my curiosity intensely. BioWare has also been tricksy in how it's rubbed out the lore the further back in time you go. "In general, the further the history goes back, we always would purposefully obfuscate it more and more," Gaider says - "make it more biased and more untrue no matter who was talking, just so that the absolute truth was rarely knowable. I like that idea from a world standpoint, that the player always has to wonder and bring their own beliefs to it." It leads into a founding principle of Dragon Age, which is doubt - because without it, you can't have faith, a particularly important concept in the series. It's where the whole idea of the Chantry's Maker comes from and with it, the legend about the fabled Golden City - now the Black City - at the heart of the Fade. This is the very centre of the lore web, and, I imagine, it's close to the series endpoint Gaider imagined long ago. All secrets end there. Did Gaider know what was in the Black City when he laid down Origins' lore? That's the question - and it startles me how casually he answers this. "Oh, yeah," he says. "What was in the Black City: that's the uber-plot. I knew exactly. "Was it as detailed in the first draft of the world?" he goes on. "No. I had an idea of the early history because that's where I started making the world. So the things that were true early-early: I knew exactly what the Black City was and the idea of what the elves believed, and what humans believed vis-a-vis the Chantry - that was all settled on really early. Then I expanded the world and the uber-plot bubbled out of that.""

"Gaider shows me the original cosmology design document for Dragon Age: Origins as if to prove this - or rather for the game that would become DAO. The world was known as Peldea back then. I can't share this with you because I see it via a shared screen on a video call, and because Gaider doesn't want me to, mostly because the ideas are so old they're almost unrecognisable from what's in the series now. But I can tell you it's a document that's just over a page in length, and that there's a circular diagram at the top showing the world in the middle and the spirit realm ringed around it. And on that document is reference to the Chantry's beliefs about a God located in a citadel that can be found there. Gaider says BioWare knew about Fen'Harel (the Dread Wolf) 20 years ago when it was developing Dragon Age: Origins, and that he'd one day reappear. The Fade wasn't known as the Fade back then, either, but as the Dreaming, because it's the place people go when they dream - an idea that lives on still. And if that sounds familiar to any fans of The Sandman among you, it should. "I'd say The Sandman series was probably fairly prominently in my head," says Gaider. "I liked that amorphous geography that was born from the psyche of collective humanity. I'd say yes, if I was to point at something specifically, that's probably where the very first inspiration of it took root." It's a lot to take in, but it reinforces the admiration I have for Dragon Age. Just as I have when hearing about the creation of my other favourite fantasy worlds, such as A Song of Ice and Fire, I begin to understand the magnitude - and the deliberateness - of the plotting that went on. I wonder if one day the Dragon Age series will end in the way Gaider first imagined, albeit slightly altered by the many other pairs of hands shepherding it along now. What a curious feeling it must be to know, so many years in advance, where things might go. Where that end is, I don't know, but I do know we'll take a significant step towards it in The Veilguard. After all, we're coming into contact with gods who were there at the recorded beginning of it all. "Yeah - we have access to people who can tell us the truth from first-hand experience," Gaider says, "although again, it depends on what the writers did with it. But if they continued the tradition of Dragon Age, you never know for sure if Solas is telling you everything, or what you're learning is the entire truth. "But yes, some of the big mysteries are being solved. I mean, will they one day definitively tell you about the Maker? Will we crack the big mysteries of the world and just make them answered finally? And does that ruin one of the central precepts that Dragon Age is founded upon? Maybe," he says. "Ultimately, that lore, when you make it big and you hint at it and hint at it and hint at it, it becomes a Chekhov's Gun of sorts. Eventually you got to pony up.""

[source]

[anthurak]

Something ironic to consider: The one time we see one of Penny's strings being cut/broken, instead of it symbolizing her breaking free, it's a prelude to her leash getting tightened via the virus.

Losing the string leads to a LOSS of autonomy.

Yeah, not to mention it also feels similar to how Penny’s strings were turned against her by Pyrrha back in Volume 3.

Really, I think it illustrates the rather narratively-ironic, allusion-flipping relationship Penny has with her ‘strings’. This Pinocchio does have strings on her, but SHE is the one to control them. The strings are part of her, because they are extensions of HER thoughts and will.

Which of course makes it all the more dramatic and shocking when Penny’s strings are turned against her in Volume 3. And even more ironic as you said when a string being broken ends up leading to someone being able to control Penny.

Even more so, I think this imagery around Penny’s strings ties into how she, like most RWBY characters, really ‘flips the script’ on her allusion.

Like how Penny’s big, important and dramatic ‘become a real boy’ moment at the end of Volume 7 when she becomes the Winter Maiden is NOT actually any kind of ‘transformation’. But rather that Penny being able to receive the Maiden Powers is PROOF, beyond all doubt, that she was ALWAYS a real girl.

And when Penny actually does get a literal transformation into a ‘real girl’, it’s both narratively redundant for her character development given the above, and was basically forced on her in order to save her life from the virus.

And if you think about it, Penny’s transformation even wound being a liability. As in, Penny likely would have had a much easier time dealing with Cinder during the final battle if she still had her mechanical body (just look at their previous fight earlier in the volume), and she almost certainly would NOT have been mortally wounded so easily.

Really, when we consider how Penny never seemed to resent her mechanical body or lament being who and what she was or otherwise give the sense that she wished for an ‘organic body’, it really starts feeling like Penny is a Pinocchio who didn’t need to ‘become a real girl’, because she ALREADY WAS REAL.

[fiona-fififi]

Anti under the cut. Look away.

But it actually makes me genuinely sad how hard people are willing to ride for Tommy.

Because yeah, queer characters deserve development, and yeah, I think for Buck's sake this relationship deserved more development because his arc was sidelined in questionable ways.

But also, as a queer person, I am actually kind of tired of seeing queer characters on network tv paired up permanently with the only other queer character in their general vicinity. And I certainly do not enjoy watching this happen with random characters I have no investment in who are newly introduced several seasons in. And I don't actually really want to watch a show develop a boring side character I don't have any reason to care about (especially when I have several reasons to dislike them, actually) who was introduced very clearly as a plot device just because they're queer. I don't think it's bad representation, actually, especially in a show like 911 with so much queer rep, to just let a queer character be a plot device.

And more importantly, it makes me genuinely sad that so many people now want Buck's "great love" to be with some random dude he barely knows instead of with the man he has actively and intentionally devoted himself to for seven years and who has given back that devotion in kind.

Yes, I want Buck to be happy. But there is no one in the world who would make him happier than Eddie. Nothing about this new relationship came close to challenging that. I don't want to see him settle just because this was his first queer romance, and it makes me genuinely sad that so many people seem to want that for him.

[fandomfixationstation]

Asexual Reader x TWST Characters: Part One! Rewritten

This is a rewrite of earlier posts I once wrote on a different blog. I am revisiting this and trying to improve on what I wrote and once again doing this for myself and other asexuals who lack the content and kindness others get. Writing this for every fanfic I've read where the character breaks up with the reader for being asexual and doing better. 

That said, Everything will be entirely my headcanons and you aren’t required to agree with my interpretations of the characters and story.

Vil Schoenheit

Vil will give you a fond smile, because honestly he’s just happy you are willing to tell him, and that you feel safe enough to do so. He’ll treat you no differently than he has, still being a caring and considerate boyfriend. Since boundaries are the most important thing in any relationship he’s probably going to make sure that he understands your boundaries and make sure that none have changed for you. Or if some boundaries have changed to make sure he understands them and to make mental notes. After all, he knows very well what it’s like to have someone cross boundaries, he absolutely would not want to cross his significant others boundaries and be the source of their discomfort.

Vil has always been one to find different ways to show affection, some more traditional than others. Gifting flowers, brushing your hair, doing each other's nails, greeting you with a kiss to the back of your hand, Taps on the shoulder or wrist to say I love you, holding pinkies, or even pinkie promises. He absolutely cherishes forehead kisses above all else, he’d even lean down for one if requested. He’d find any way to bring a smile to your face because that’s all he really wants, is for you to be happy.

Honestly, I think the longer the relationship goes on, and more specifically as his understanding of asexuality develops. I think Vil slowly comes to the conclusion that all too well describes himself. He comes to enjoy quality time, and other gestures of intimacy that he finds more enriching and cherish worthy. In fact he learns the value of words of affirmation and learns to appreciate them in a new light with his significant other. Because giving sincere compliments and affirmations to someone he cares about deeply feels beautiful and receiving them from the same person ? even more so.

At the end of the day, He’ll always make sure you're comfortable with what he is doing. If you ask him to stop, he’ll listen and stop and make sure you're okay. He mostly just wants someone he can trust and spend his spare time relaxing with. Considering the rest of his time is spent being busy and stressed. So being able to make each other comfortable and spend time resting and relaxing, making each other smile is more than enough for him.

Jamil Viper

Jamil at first might not completely understand, however he is a fantastic listener, so he will let you explain and ask questions to make sure he understands completely. He is very calm and understanding throughout the whole thing. He’ll make sure to ask what is acceptable and what is completely off the table. Regardless of whatever those boundaries may look like he is bothered because at the end of the day he just wants you to be comfortable and happy. To him it's rather simple like that. Because he values your boundaries and your comfort. Much like he wants his significant other to understand and respect his own.

He most certainly shows love in less physical ways, touch isn’t something he is particularly good at. However, he is quite fond of gifting his significant other two things, flowers and food. The flowers are specifically chosen with care, they always have a hidden meaning of their own, and he often doesn’t enjoy cooking for others, for his significant other it is different. He wants to make sure they are well fed and taken care of.

More importantly he is just a sucker for quality time, especially since he is also a busy person. So if you guys are just in the same room spending time together he is very appreciative of that time together. Sometimes that may look like cuddling together and not doing anything for about 30 or 40 minutes. Sometimes that looks like him doing whatever chores he has to get done while talking to you while you do something completely different. Whatever works for the two of you that day or that moment.

Jamil values communication significantly, so i’ll always be communicating what he is doing or what he plans to do, and if you voice your discomfort or disinterest he will absolutely understand and respect that. Especially if you do the same in kind for him when he isn’t comfortable with something. Needless to say he’ll always make sure that the two of you are on the same page.

Floyd Leech

As I once stated before, This to Floyd, Has changed absolutely nothing about your relationship with him. He still gets cuddles? Perfect. He still gets hugs? Even better. He does apologize whenever he does cross a boundary and learns to make up for it and not do it again. He does enjoy physical contact but that doesn’t mean he’s going to cross your boundaries, besides there are different ways to do so. He quite enjoys even the most subtle of touch.

Though, there might be some questions farther down the line that he might have, however that is something he will talk about with his significant other and the two will decide on how you both will handle things moving forward. Because he is considerate about his significant others' wants and thoughts on important and trivial matters. Especially considering how much damage he would create in the hypothetical of someone just being disrespectful towards his significant other, for any reason.

That said, Floyd is more than happy to just spend time with you. That may be pulling you along to pull some prank, go on an adventure of some kind, scare the daylights out of younger students, or maybe just being a cuddle puddle on the floor, either watching something together or talking endlessly about anything and everything. You’d be surprised how philosophical and down to earth Floyd can get sometimes. Oftentimes talks can go for hours and feel very cathartic.

Honestly as long as you enjoy supporting him in whatever he is doing whether that's on the sports team or whatever antics he gets up to he doesn’t mind or care. As long as you are both happy and enjoying life to the fullest. He, far more cares about being able to dance with you under the moonlight and having thought provoking conversation at late hours that ends with you telling him to shut up and go to bed because it's 3 am.

Azul Ashengrotto

The first thing that comes to mind while rewriting this for Azul is that I think he would honestly be relieved. Clears the air for him and removes a lot of self placed expectations from himself. Honestly makes him feel better and helps him relax a little bit in the relationship. Big heart to heart conversation about wants, needs, expectations and boundaries that should leave you both feeling better and more confident with each other.

He will do his best to set aside time to spend time with you, and when he has to cancel plans he often will get you something to make up for it. Not that it’ll solve the problem but he usually does it so he can give it to you in person and spend time with you anyway. Its usually something that you had mentioned needing or wanting or needing a replacement of something. He wants his gifts to be thoughtful, practical and helpful.

Even when it comes to simply cuddling on the couch he’ll make sure you're comfortable and make sure you're okay with where his hands are resting. He enjoys quiet peaceful relaxing time with his significant other. Nothing has to be happening, maybe the radio is on, or the tv. Maybe you're both doing your own things, but just getting to be in each other's presence with no expectation of the other is nice.

Post it note messages. He won't admit how soft he gets when he sees a note you left him. Not to mention he’ll find ways to slip you notes in return. They will always be unapologetically sweet and sappy. Not to mention he’ll find ways to just let you know that he was thinking of you and that he loves and cares about you. Even if it is just a short message saying I love you.

Lilila Vanrouge

Previously I had said Lilia was Asexual, today I say he is still Asexual and very much so polyamorous, No I won’t elaborate on how or why. He is a hopeless romantic by nature and that manifests in many different ways. He will be the most understanding and accommodating and will continue to fall head over heels for you. He’d do many things for those he cares and loves oh so dearly, and you will be able to feel his affections on an emotional level.

Poetry, Love letters, cheesy pickup lines, flowers, cute or thoughtful gifts, he’d even serenade you outside your bedroom window if you let the man. Most of the ways he shows love aren’t very physical to the touch, they are actions of love. Doing laundry for you, or getting you coffee while you're busy. Bringing you something to help you fall asleep on a sleepless night. Telling a story to make you laugh or maybe feel better. He’ll literally sweep you off your feet if you let him.

Consider him inviting you over for afternoon tea on a day off, a harp and piano playing a soft melody as the two of you dance in the gardens peacefully. Honestly he’d probably pull this off at any time of day for as long as it felt magical and enchanting for you. Because at the end of the day he just wants his significant other to feel loved. Ideally the goal for him is for you both to continue to fall in love over and over again.

Cold winter nights will be spent drinking your favorite warm or winter drink of choice, cuddled up together by the fireplace. Lilia softly humming a melody of unknown or forgotten origin. Curled up in more handmade blankets than you can count. This could also apply to cold rainy days.

[spaceorphan18]

The other thing I've seen going around today (not here... on other sites) is discussion on when did Colin fall in love and...

Hmmm....

There are a couple of issues I have on this subject.

The first being, why is loving someone as a friend valued less than loving someone in a romantic capacity? It's just a different type of love. And, maybe this is a me thing, but sometimes I get frustrated that friendship is deemed less than romantic love.

(I mean, I could go on a full tangent about Penelope and Eloise, and how their friendship, and their love for each other, was another love story during Season 3 -- and that relationship to Penelope is just as important to her as the one with Colin. As is, Eloise and Colin's familial relationship - which is, again, another form of love.)

anyway, Penelope, we know, had romantic feelings right from the start. but they were childlike, in a way. Colin was a boy (and a person in general) who didn't laugh at her for being awkward. This meant the world to her. It was a childhood crush, that developed and matured into an actual friendship, and developed and matured into romantic love. These are two separate things that happen but are very intertwined for Penelope.

As for Colin - he says to his brothers that his feelings aren't some thunderbolt from the sky, and that they had developed over time. There isn't one point where he was bam! in love. It was always something simmering and taking shape.

And I mean - in Season 1, there was friendly affection there -- they grew up as literal children together. She was always around. They were fixtures in each other's lives, and it probably was a familial caring for her - in the way he cares for Eloise. There there are points in which he shows that she is special to him. He recognizes that she helps him understand himself. And that there's a unique dynamic there - beyond, hey, this girl is my sister's bff.

And then comes Season 2 - and the letters are incredibly important to their development. It starts an intimacy between them that they don't have with other people. It also lets them be open and vulnerable in a way that they aren't able to in person. There's a connection there. And a valuable one at that. And Colin sees her as a friend, and someone important and special in his life. The friendship is very real, and his love for her is there. Even if it is friendship that doesn't mean it's something less than how Penelope feels for him - it's just different.

And then the thing that does separate romantic love from friendship love is sexual desire -- and Colin doesn't really recognize this until they kiss, that he is attracted to her, as well as everything else. It compounds. So, by the time they finish up that carriage ride, there are three types of love going on -- familial, friendship, and romantic love, and Colin understands this enough to be sure in knowing that she's the one for him. (He also knows he has to lock her in, because she could develop all of that with someone else - she almost did - so that's also apart of the proposal, but i digress.)

I guess my long winded point is that it's odd to talk about Colin's love for Penelope in distinct moments, when it's all a spectrum, and overlapping kinds of love. And I mean - I think there's a better conversation to be had about what love is to Colin, how does he define it?

Because I think how we love is different person to person. And letting fictional characters be complex like that is really kind of fascinating (to me).

And I guess - what draws me to Polin (over Saphne and Kanthany) is that it's a love story where the foundation is friendship, and the specialness in that, is absolutely valued first, and romantic love stems from that, instead of vice versa.

But that's just me.

[thewistlingbadger]

I just want to add a few notes to this

I am not anti meljay or anti mel. Mel is such a fantastic badass and I heavily dislike how overlooked she is by the fandom. MelJay are a very cute ship and I want to see them develop.

If it were up to me, mel, jayce, and Viktor would ALL be together. I ship MelJay AND I ship JayVik.

There is no one way to ship a ship. It's fiction; you get to interpret things the way you want to based on how you feel. One ship might be OTP for you, or it could just be a fun dynamic you want to see more of, etc. You can interpret things based of the evidence provided

We cannot ignore the foundation of Jayce and Mel's relationship and we cannot ignore a part of Mel's character. In season one, Mel IS very manipulative. She is plotting from the moment we see her, and that's one of the reasons I like her. She's sneaky! She's got all of piltover wrapped around her finger and she did so with ease! Jayce was one of those people she had wrapped around her finger. She played into his ego and self doubt to boost him up, and this is what the show shows us on the surface. She pushed him into the role of councilor, a role he didn't want, for her own selfish reasons. Although Mel isn't a saint (no one is in the show) we also see she's not evil. Most of what she does is just to boost herself up in society. We see her character start to change the more time she spends with Jayce. His company is making her a better person. That's what the show shows us. The show also shows us that Mel's company is also having positive effects for Jayce. He feels less alone and overall the both of them comfort each other and that's a really powerful thing to have in your life- a person that makes you feel safe and calmer.

Personally? I think Mel can do much better than Jayce and maybe she'll always be content with him and maybe she won't. What does it matter? It doesn't. It doesn't matter whether or not they get married and ride off into the sunset or whether they end up breaking up on good terms. It doesn't matter, at least not to me.

At the end of the day, this post was entirely my opinion. And I said so several times within the post. As an Internet user, we should all know by now that if we see something we don't like we either scroll away, block a user or block tags. I've had several people insult me and make baseless claims about the content of my character just because of what I wrote. Had they just had the jayvik tag, they wouldn't have even seen this post!

In conclusion: no I'm not anti mel. No I'm not anti black. No I'm not anti meljay. No I don't care whether meljay OR jayvik becomes endgame. I don't WANT either of them to be endgame, but ultimately if meljay becomes endgame I won't care I'll go about my life happy that the ship got more content. No I didn't make this post to get a rise out of people. I literally started shipping meljay and jayvik only a few days ago. I had no IDEA this would be the reception my post would get. No I'm not bad at tagging this post WAS about meljay AND jayvik. No I'm not getting rid of this post. Anyone else that wants to reblog and make a villain out of me is just getting instantly blocked and that's that.

I really like Mel and Jayce's relationship because I think they're a great source of comfort for each other, but they're not endgame for me. They can't be due to the foundation of the relationship. I don't think Mel Merdarda loves Jayce Talis fully and unconditionally and that's completely acceptable. She doesn't have to. Jayce Talis is not there to be her husband. He's there to be her pawn. It just so happens that he was a pawn that she got too close to emotionally, a pawn she just so happened to have some level of care for. So yes, I like them, they're cute, but they're not everything. JayVik is everything. JayVik is coming home to your bed after a long trip that was pleasant but filled with hotel mattresses. JayVik is realizing that you had what you wanted the entire time. JayVik is being too late to save the day but still charging in like a hero.

[libraford]

So I have a question about your outlining process for your books? How detailed do you get in your outlines?

I am trying to go back to a book I started 6 years ago but had to stop cause my daughter was born and yikes this outline is almost 40 pages long cause I got super detailed.

You're gonna hate this.

My initial outlines max at like five sentences. Really, sometimes it's not even an outline, it's a title page from Always Sunny in Philadelphia.

Start thinking about the scenario that excites you the most. The situation you wanna put your blorbos in.

"The flower shop gang does a wedding."

Then add conflict

"The flower shop gang does a wedding, but the client is a bridezilla."

Then add details.

"The flower shop gang does a wedding, but the client is a bridezilla and a series of complications with the project creates friction between friends, and they have to resort to shenanigans to make things right."

Add another layer.

"The flower shop gang does a wedding, but the client is a bridezilla and a series of complications with the project creates friction between friends, and they have to resort to shenanigans to make things right. But little do they know that the venue is targeted for a heist."

Start with a broad strokes statement of the plot and then narrow it down. When you go through the outline you have, ask yourself questions like "is this part of the plot or is this character development?" "Plot or world building?" "Plot or magic system?" "Plot or in-world politics."

Then take that broad strokes description and add some Pratchett asterisks.

"The flower shop gang* does a wedding,** but the client*** is a bridezilla and a series of complications¹ with the project creates friction between friends, and they have to resort to shenanigans² to make things right. But little do they know that the venue³ is targeted for a heist."

*a demigod, a thief, and a jack of all trades (see character sheet)

** high-stakes celebrity wedding

*** beauty pageant queen, see character sheet

¹a volcano eruption in Peru cuts the orchid supply

²some magic nonsense, see world building section C

³a huge public garden that includes a hedge maze, but also a historical landmark- see map on page 10.

Like, I totally get having a ton of world building. I have a binder full of random info that fits into my fiction worlds. But for the sake of sorting out the plot and actually getting to the actual writing part- keep the outline vague.

At least that's what works for me. Truthfully, Damn Good Party started because I wanted to see my gang of losers steal copious amounts of cake at a wedding expo and see what happened next.

[frozen-snowflakesandsunflowers]

Jared Bush says Frozen 3 will surprise people | Latest Updates

In an interview during D23, last weekend in Brazil, Jared Bush, the recently appointed CCO, gave away some teases about Moana 2, Zootopia 2 and the future of Encanto, but he also mentions a bit about Frozen 3.

He says:

“Yeah, yeah, Frozen 3 is coming. And from what I've seen so far [of the film] I think people are going to be surprised. I can’t give away too many spoilers, other than to say that Jennifer Lee is leading the charge and that the story and the direction that she’s taking these characters, what they’re facing, what they’re going to go through, I think is going to surprise a lot of people but it's also going to deliver on everything that people love about Frozen.”

So surprised is the word he uses to describe how we'll react to Frozen 3. That's given because as Jen has said recently that the concept art that was shown during this year's first D23 is just a glimpse of what we could see in the movie. Apart from what we make from that concept we have no clue what Frozen 3 is about and tbh I have to give it to the team for not spilling a single detail about the movie. I know we want to know more but imo I think they're saving all that content for the end of 2026 and into 2027. Maybe a few teases or better insight of the story by the end of 2025, but who knows. Probably also because they're still working on it so whatever they would have told us about the film so far, could have changed and form opinions in our heads about it which they really don't need at this current stage of production. I don't think the cast have even got the script yet as the story is still developing!

Bush also mentions that Frozen 3 is going to deliver on everything that people love about Frozen. Now that's the only real piece of information given - the focal point being on what we want to see. That's what the questions on the first D23 event were about - what we would like to see, what we feel is left to tell. We love the characters, the story, the individual arcs of those characters, the dynamics, the settings, the potential, the mystery, and so much more and so I'll take this a positive sign. That's all of what I make of it.

I know nothing major was revealed in this interview, but I still thought I'd share for those who do take into consideration these little hints and teases. Since Frozen 3's date has been pushed back from 2026 to 2027, most of the content will be given the year of the release and some the year before base done the previous two films promotion (it could be different as this movie is a two parter). I know that's quite long to think about (😭) especially with the honest disappointment that Frozen Winter Festival was not a short film or an official short series but rather just a YouTube series (which is cute nonetheless and good to see they're feeding the younger fans of the franchise), but now moving into 2025 we have 2 and bit years left so we should get more teases in interviews and events here and there.

But regarding FWF, I don't blame them too much because all their focus is on the Frozen 3 and 4 as it is being made back to back, then I'm certain it'll be worth the wait. We can still hope for some kind of Frozen content soon as we do have a couple more years to go so let's see. 🤷🏽‍♀️

P.s I have some Frozen edits I'd love to share so I'll post those if you need something new regarding Frozen. ❄️

[felassan]

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

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

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

---

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

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

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

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

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

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

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

[source]

[austenpoppy]

I mean. Personally I think it was a great idea to have Dick be a cop, but apart from that, why is that job more important than others Dick has had ?

First of all, there's the role it plays in the story. Dick being a cop and then being fired from the force is a very important plotpoint over many, many issues. It just lasted longer (both in-universe and out-of-universe), and we have more moments of Dick being a rookie cop than we have of Dick doing almost any other job. Bartender ? It lasted a few months when he was working for Hog. Blackjack dealer ? It was over in one or two issues, Dick was undercover and it didn't have that much significance. Exotic dancer ? It merely lasted hours, it was a way for Dick to get into a building incognito. Trapeze instructor ? A few scenes here and there were included over several issues, but overall it was more in the background. Meanwhile, there are entire issues dedicated to Dick's time as a cop - like this time he was assaulted then accused of murder by corrupted cops.

It also ties with the overall theme regarding Blüdhaven : unlike Gotham, Blüdhaven doesn't have a lot of psychopaths, but the corruption is rampant. Dick had to fight against dirty police officers almost as much as he had to fight against supervillains - it's significant that two of Dick's enemies, Soames and Redhorn, are corrupt cops.

As an aside, as much as I liked the way Dick managed to get his hand on Redhorn's little book, I think that from a narrative standpoint, Dick should have won against the onslaught of corruption as a cop, and not as Nightwing (even if he knew who to trust because he was Amy's partner).

Speaking of which, Amy is one of the most memorable characters Dick's ever worked with - and again, the building of their relationship, from Amy being distrustful and scornful to trusting Dick entirely to feeling betrayed then protecting him at the cost of her integrity, took months, lots of issues, and is very touching.

I like Hog (and that guy never died, damn it, he didn't live in Dick's building) - but he was barely present. Cheyenne and Shawn were above all love interests, more than coworkers (even if we can skip Cheyenne because those three issues she figured in were...weird...and forgettable). Dick's circus friends ? They have names, but they're still more background characters representing the lost childhood of Dick than actual characters with character development. Dennis ? Seemed like a nice guy, I guess ?

Third, Dick put in a lot of effort to get into the B.P.D. He had to go through the entire police academy and take tests. Museum curator ? He got the post through his personal relationships, even if he had the skills for them. Trapeze instructor ? He was noticed when he helped a kid. Circus owner ? Come on, yes, he invested his money, but it wasn't about what Dick wanted to be "when he grew up", it was about Dick keeping his past alive. Model ? An accident. Taxi driver ? First time around it was the first job offer he could find. Second time... *cough* Ric Grayson era *cough*.

Fourth, being a cop had an impact on Dick's other relationships. Bruce hated that he was a cop (for multiple reasons : he loathed the idea of Dick using a gun, was worried about him, and thought Dick was risking their secret identities). Alfred was initially supportive, but he also started to get worried. Babs hated it because she didn't want her boyfriend to risk getting killed 24/7.

And despite this, Dick remained a cop even after the corruption got brought down, in spite of his loved ones not liking him endangering himself all the time. And thus this is the fifth reason for me saying Dick being a cop has a lot more narrative significance than Dick being an exotic dancer or a bartender, Dick loved being a cop. Genuinely. It wasn't something he did because he needed a job to remain connected to people and still be Dick Grayson. It wasn't "just" an undercover job. He was ecstatic when he got hired at the B.P.D. He was happy doing it, and at one point it became more than an undercover job - though was it even a job, guys, considering he was doing it for free (that absolute madman I swear to God) ? He kept postponing the moment he'd have to resign after his "undercover" goal was achieved. He was crushed when he got fired.

You have to see, for Dick being a cop was about helping people at their lowest/learning information about people he'd be able to help as Nightwing. And Dick loves nothing more than doing that, so doing it 24/7 ? Sign him the fuck up. Like, some of Dick's most significant "cases" at the B.P.D. were about 1) stopping an act of police brutality, 2) being there to stop a domestic abuser and getting back as Nightwing to tell the guy to flee the city, or 3) getting a letter from a little girl, Kesia, who wanted Santa to help her Dad, crying, and spending the time before Christmas investigating so he'd be able to track her (and if that doesn't move you nothing will).

So yeah, Dick's time as a cop was significant. Now you don't like it ? Let Dick do something that would have the same effect. Let him be in child protection services. Let him be a nurse in the I.C.U. Let him be a firefighter.

Now I know people will say that the gym he opened at one point in the Rebirth continuity had to be something he held dear. It's not false, but I don't think he prioritized it the same way or that it was shown to be as important to him as being a cop was. At that time in that continuity, doing so was also an act of independence (considering he was younger) and of convenience (it allowed him greater flexibility to be Nightwing, something being a cop did not, at least in terms of working hours).

I'm still angry about "Dick is a cop". Thing going on.

Dick hasn't been a cop in 21 years (he stopped in 2003) He had numerous jobs since and before that and he was doing it at the time to try to fight the corruption from inside (whether that was a good idea is up to debate it wasn't in my opinion) and he was written as cop by Dixon (deregatory).

Devin Grayson continued and stopped that.

His most common job is being a barista followed up by a gym teacher.

[leresq]

Finally watched Deadpool and Wolverine. First of all I was not coming into this with high hopes because even though everyone was talking about how good this movie is I've never found the Deadpool movies funny. To me they're just different variations of "You haven't seen this in an Iron Man movie" stretched into two now three feature length films. But honestly I liked it at the end.

- Why are Logan's ears and one of his eyes not decayed when no other part of his body is intact? Why does he have a beard on his jawbone?

- I'll bite, the Bye Bye Bye is a fun idea. The wintery forest setting is cool.

- I can't enjoy that opening fight scene because it's not how anything works. You don't get bludgeoned with a dull object, have your body armour completely give way, and have a pint of blood splash out. I understand the whole point of Deadpool is that it's over the top, but this is just so overly gratuitous it's insane. I feel like Marvel Studios felt like they had to make it so unrealistically violent to try and separate it from the mainline MCU to get the people who have Deadpool funko pops to guffaw in the theatre. It's "You haven't seen this in an Iron Man movie" with zero words spoken. Honestly incredible.

- The CGI is better than it's been recently but it's still noticeably bad

- Peter Parker's Iron Man mask is on the desk in the background! How did that even get there.

- Why is Tony's ARC reactor on the table, I thought that was pushed into the river at the funeral

- The timeline is just so incredibly fucked. I still don't understand how the X Men timeline reboot works, or how Logan fits into it; if Logan dying means Deadpool's universe collapses, that implies the Logan movie is in the X Men reboot franchise, but Patrick Stewart is in that and James McAvoy plays him in the reboot making me think it's a one off... Augh my head...

- Something looks up with John Favraeu. I don't know if his wearing a wig is supposed to be obvious, I don't know if he's just under a lot of makeup or it's CGI, it's just weird.

- Deadpool is never going to be an Avenger because Marvel Studios would rather execute everyone working for them than give up the licencing deals from making PG13 movies, and Deadpool wouldn't feel the same in a PG13 movie.

- I think any brand would let Ryan Reynolds walk all over them in muddy boots, for some reason he gets the pass to slander anyone he wants to and he gets paid by the companies to do it.

- 'I don't have a lot of v*ginal sex' 🤨 that has numerous connotations. Also can we not do sex jokes in front of 12 year olds

- I was not expecting a Deadpool movie to contain any hints of character development because the previous two instalments seemed to be hellbent on making sure I understood nothing of emotional value would ever be allowed to appear without being undercut by a sex joke.

- "I've never been a natural bottom" 🤨🤨 I thought Poolverine was just the average two male leads naturally gets shipped together thing but no they're sowing the fields

- If that Thor crying over Deadpool never comes back I will say something about it

- If they didn't want me to know Paradox was going to be a villain why would they make him British

- The 'Suck it Fox' cut to nothing being there is the only time I will accept something raising more questions than answering them at this level as funny

- "Your tailor is a predator" caught me so off guard I started coughing

- Wow I wasn't expecting them to pull the Paradox is actually evil card not even a third into the movie. Honestly a good subversion of expectations.

- How is Deadpool's universe going to evaporate in 74 hours, I thought time doesn't exist at the TVA?

- Are they going to explain why Deadpool's suit can just fix itself now. It used to keep its holes.

- Finally, I think the first time we ever hear Deadpool is from Canada in the movies! I wonder if Ryan Reynolds only wanted to play him in the first place because they're both Canadian...

- "You two gonna fuck or fight?" 🤨🤨🤨

- I actually understood the Honey Badger reference

- the FF floating platform thingy is another reference I'm surprised I got

- The Human Torch CGI is actually really cool

- "Not all of you was asleep" after waking up on his shoulder 🤨🤨🤨🤨

- Too many cameos in Cassandra's little alcove so I'm not even going to bother looking for them all

- I'm not sure if Johnny Storm's death was supposed to be played for laughs or just shock value, either way I'm not laughing I loved those movies ;(

- How does Cassandra know she's Xavier's sister if she was sent to the Void before she could walk?

- Wolvie being nice to Johnny post mortem is cool

- Nicepool having a stronger Canadian accent is a good joke, and Deadpool looking on in disgust as Nicepool talks about his dog's 'G-spot' is good. At least that's not played off as just a normal thing to say even if it is a joke

- "I identify as a feminist" could easily be misconstrued as an 'anti-woke' joke but all of the jokes of a similar calibre in this movie seem to be made ironically. Example: Nicepool is a creep

- "Where's your mask" and Nicepool points to his face actually implying his nice guy attitude is a facade for being a shitty person is actually really good

- Why is Nicepool's car surrounded by untrampled corn, how did it get there? Who grew the corn?

- Deadpool includes Colossus in his world 🥺

- Wolverine is nothing if not an excellent shit talker, and it's actually very out of character for Deadpool to actually get affected by insults

- I wish The Greatest Showman soundtrack was incorporated for more than just a third of a second

- 'Close up magic' ant man reference?

- 'There's only ever gonna be one Blade' about that...

- I think that's Apocalypse's throne in Cassandra's room? Or Thanos's

- I never thought about how both Cassandra and Xavier's powers radiate from their heads until the Juggernaut helmet scene

- Finally some real actual genuine character development that's not thrown away for a joke!!! The best part of the movie to me was Cassandra's redemptio-. Oh. Nevermind. Anyway I like it better than if it were just shoved away for a joke then she died

- Deadpool waiting for the 'extras' to clear was, to me, a good indication that he's a hero now. Caring about civilians is #1 on my makes you a good guy requirements

- "You smell something?" "Yeah you" 🤨🤨🤨🤨🤨

- And there it is. Nicepool's death is probably the most predictable death I've ever seen on film.

- Eastside Pharmacy?! Agatha All Along reference???

- Wolverine's helmet looks like a rubber playground ball

- Will Marvel Jesus come back in three days however?

- Staring at Hugh's abs? Same, but 🤨🤨🤨🤨🤨🤨

- That hand holding ending was actually impressive, I wasn't sure what was going to happen and it actually kicked ass

- Is the guy with the mug who stared at Deadpool in the beginning Marvel's first gay character

- The introducing Logan to Blind Al is so unbelievably 'the parents meeting the boyfriend' I could die there's no fucking way that wasn't on purpose

[everythingiloveblog]

I have so many things to complain about in ep10, that I have a hard time organizing my thoughts

Other than that, some things have been bothering me about Jack as a character, or rather the choices made for his character. Because they are definitely making some interesting (derogatory) choices with Jack’s character.

I love Jack, he is (was?) the character I’m interested in the most, but I’m starting to think that I will never get the depth(?) I thought I would get from him.

I was definitely on his side during ep7-8, defending him while people had a hard time understanding his point of view, or putting themselves in his shoes. But since ep10, like I said , some things have been bothering me.

One of them is that I noticed that Jack barely has any emotional bond with the characters in the show.

The show did it well with Joke though.

Joke & Grandma: they had so many emotional scenes of talking to each other & supporting each other & doing things for each other that I feel like, at this point, people care more about the bond between Joke & Grandma, than Jack & his own Grandma (or even Joke & Jack)

Joke & Hoy: Hoy has been on Joke’s side since episode 2 if I remember well, always feeling bad for him, understanding that if a rich kid like him is not going back home, there must be a reason, teaching him to drive, asking him his type, etc. And even in this last episode, he was comforting him at the hospital

Joke & Tattoo: Tattoo couldn’t care less about him at first, since he doesn’t like rich people and like, he doesn’t know him anyway. So he betrayed him twice, with barely any remorse, and if his mother had been on his side, he would have been gone with the necklace. But things didn’t go his way and Joke decided to forgive him TWICE, which led to Tattoo being thankful & remorseful. Since then, an emotional bond has been formed

Joke & Arun: well, they started as enemies (with the first group heist of the show), now they are in good terms. Not much going on between them but at the very least, Arun is now part of the 4 Little Pigs, so they are spending time together, getting drunk together & they did that heist together as well

Joke & Toi Ting : they don’t have that many scenes together, but I feel like they always give the big emotional speeches to Toi Ting to Joke (first in ep6 when she cried because she got bullied for being uneducated, and in ep10 twice after her dad left & when Joke was going to leave)

Joke & his father and brother : whether we like it or not, they clearly developed a story of love & forgiveness, etc (I don’t have much to say about this storyline as I don’t like it, but I understand that it’s a cultural thing, as most of the Thai bl I’ve watched did the same thing)

Even Boss & Nang had some interesting conversations with Joke in the show.

Now let’s look at Jack...well, I feel like everything is superficial

Jack & Save: who are they even to each other? They talked like 3 times, and it was nothing very noteworthy. He’s like this random lil bro that he’s close to, and we don’t know why, how or when they got close. So the betrayal feels a bit off, and the reveal was also underwhelming (to me at least)

Jack & Hope: once again, why the beef? No explanation. A few antagonistic interactions at the beginning, then nothing.

Jack & his grandma: we had some scenes, and of course they love and care about each other, but weirdly enough, their emotional bond feel weaker than the one she has with Joke...idk

Jack & Hoy & Tattoo: he was their debt collector, helping them because they couldn’t pay...and that’s it. He’s like the nice neighbourhood big bro. They like him, they respect him. But we don’t see much of it. They barely hang out with Jack. And when they do, Joke is always here. They are giving more Joke’s friends hanging out with Joke’s boyfriend tbh

Jack & Toi Ting: We know that she likes him, she was his eyes in the neighbourhood when he was working, I liked that scene with Jack, Toi Ting and her dad. But again very superficial. Like I said, the big emotional moments with Toi Ting are given to Joke and Jack is on the side so...

Jack & Arun: nothing to say I fear

Jack & Nang : does Jack even know that she exists? Oh yeah, she was at the table during his birthday dinner at Rosé's...does he know who she is?

Jack & Boss: probably one of his most developped relationship...and it’s an abusive one. Like I said in a previous post, Jack got emotionally manipulated by Boss during the 5 years he worked for him, and then ended up being verbally, physically and mentally abused by him, while being used as a pawn to Boss’s quest for power (after almost killing his grandma). All those scenes of Jack closing his fist while talking to Boss better not be for nothing

Jack & Rosé: Well, she liked him, he didn’t, he worked for her while being a potential spouse (forced by Boss). He ended up telling her that he didn’t like her but said they could remain friends...where was that friendship though. Nothing they shared was genuine though...so like idek (I wish there was an actual friendship formed between them actually but oh well)

Jack & his parents: Very surprised about the fact that he NEVER talks about them, ever. I actually thought that Oh (Jennie’s character) dying the same way as his parents would trigger him or something, but no. He thought about them briefly in ep4 (after Joke fixed his little bookshelf corner) but Grandma was the one bringing them up, saying that she misses them.

So...yeah. It’s disappointing really. I feel like there was so much more that could have been done with Jack’s character

And it also might be one of the reasons why it’s easier for the viewers to connect with Joke than with Jack

[fiona-fififi]

You know, actually, I kind of love that they placed the breakup where they did. Because every time Buck's had a relationship end so far has been at the end of a season. We've never seen him have to actually process and deal with his feelings and confront the reality of what he needs to be happy. We just always jump right over it. The closest I think we got to that was with Abby when he finally started to accept the reality that she had left him behind and it was over. And actually, as frustrated as I am with the way they brought Abby's ghost back for a variety of reasons, it does actually make a lot of sense in the way it might force him into confronting just how little has changed about how desperately he's searching for something he hasn't even managed to name. He needs to break out of this shell he keeps using to protect himself from having to confront all the parts of himself he tries to hide (from everyone else, but also from himself). And I think actually taking the time to let him process a breakup might be a great way to actually show some development with Buck's character for once.

Instead of pretending like forcing him into another dead-end relationship and acting like it's the one that's going to fix him, maybe forcing him to confront the reality of why his relationships keep ending and letting him process that could really be the turning point for him.

[angstics]

I always thought black parade is about a horrible person who feels sorry for himself. He’s hurt people over his honor (being a soldier and all that) but I don’t see the fascism. He’s self centered and he doesn’t care if we feel sorry/happy for him but I genuinely don’t understand how that ties into fascism. I haven’t watched cabaret and maybe that’s why but to my understanding cabaret is directly affected by war but the patient isn’t. At least not when he’s in the hospital.

I feel like this is something Mcr is starting to build rather than something that has always been there? Can you explain a bit more? I feel really stupid and I love art so not understanding it hurts. I read your posts btw but yeah I don’t get it? Maybe I am stupid after all

this isnt related to intelligence at all, i dont think im reading any like Secret Messages behind black parade. everyone has their own reading of what bp means. a lot of the ideas i post are incomplete and only really make sense in my head because it caters to MY thoughts, MY experiences, MY enjoyment. i felt so jubilant about identifying the fascist imagery because i feel like it's an Underrated (not hidden) part of the black parade. but it mostly does so through APPROPRIATION and EXPRESSIONISM.

appropriation is what i mean by black parade co-opting the concept of cabaret: ignoring the world's troubles via entertainment leading to destruction inside the soul and outside in the world. cabaret is about fascism, black parade is about depression. the narrator is inside his mind, his entertaining space, self centered and self flagellating, to the detriment of his own life. by Alluding to a story about fascism, i like reading that theme into black parade as well. Expressionism is a recent development in my conception of black parade. i thought bp was APOLITICAL until i realized that the personal theme could symbolize a wider critique, the way german expressionism was a reflection of troubled, decaying society.

there are also some elements of fascistic theme within the text, but theyre milder than the overwhelming themes of self-hatred, memory etc. these elements include the overwhelming presence of war and retribution (mother war, mama, welcome, teenagers, sleep). the portraits by chris anthony read very dark to me, these military-straight, brooding, rigid characters. the destruction in the streets of the welcome music video. all elements that speak to an unnamed destructive force that must be squashed, or a need for a leader that can be a savior. the "black parade" as an army that welcomes you to valhallah. there's more to say im sure, i just havent thought about it outside the personal perspective much.

your ideas can co-exist with my ideas. there is no one true reading. this is just what i like thinking about!!

[startheskelaton]

I take it that Sparkplug loves Shockwave but Starscream is head over heels for her and she doesn't know it?

I was just looking through you art and that's what I guessed.😅 Also, your shockwave design is HECKIN awesome! He's very creature shaped. My favorite shape. Lol.

So first off I think you have some characters confused but I love the enthusiasm!

This guy is Nightflyer, SON of Starscream

And this guy is the TF prime design of Soundwave but for this AU, he’s a failed clone creature of Soundwave and is named Soundblaster

The best way to explain it is with the dumb diagram I made

Sparkplug develops feelings for both boys, mostly through boding about being an outsider that has great expectations put on them. However when Nightflyer gets outed for being a spy, she feels betrayed and assumes he only got to know her because of what she could offer him as being the daughter of Megatron and Prime. She meets Soundblaster after an invasion by the decepticons gets interrupted by the Decepticon justice devision. Getting lost in space with him through an accident with a warp portal.

Nightflyer vary quickly falls for both Soundblaster and Sparkplug without even realizing it at first. Both bots are kinda science experiments gone wrong and he’s incredibly into that. He’s aware of the feelings of distrust Sparkplug starts feeling from him lying, but he refuses to lose one of the only people in his life that makes him feel like he belongs. On the other hand, Nightflyer is completely convinced that Soundblaster is his best friend, singing his praises and thinking about him often.

Soundblaster hates Nightflyer mostly due to jealousy, however just doesn’t say anything due to a lack of communication skills. Soundblaster was conditioned to be mostly silent like Soundwave, however that was mostly just how Shockwave perceived him. During the earth invasion, Soundblaster corners Sparkplug and attempts to capture her in order to get good favor with Shockwave. However due to an accident they are transported halfway across the galaxy. In the time they take to find a galactic transport station, they realize their common identity crisis and feelings of not belonging. Sparkplug would develop a crush on Soundblaster while he would decide to devote his life to keeping her safe. 

[nosvq]

We can't even enjoy BuckTommy without any noise from that side since it happened. They keep on shoving their theory and bad takes and insults.

We also can't even have a relaxing time during break because they keep on saying Tommy not going to comeback. Plus all the harassment Lou get and again all the insults we saw everywhere on the actor and the show official account, making a content just to invalidate the character and hating the actor, mentioning him in your negative comments.

When he finally appeared in episode one he still get the same treatment and we saw the same situation. When episode 5 happened still the same situation. Finally BuckTommy break up, we can't even make noise and express our feeling about that in peace.

This is free world, if you can have years of delulu and behaving badly no one can't stop you and called you out(plus you people are beyond saving) still have the audacity to act superior like we aren't the viewers and fans of the show. You can't even take it watching us expressing whatever we feel because you think Tommy Kinard is outsider, Lou is outsider and Tommy deserve to be hate so does the actor and you think BuckTommy relationship is a stepping stone and an experiment for Buck.

It is up to you to feel that, to invalidating the character and development. Hating Lou is bad behavior shouldn't be proud of it. We want to enjoy the beautiful short moment and wallowing in sadness because of the break up . It is our right and freedom.

You can go laugh and make fun of us to your heart content but knowing how bad your behavior these 9 months even way before season 7 happened, I know that although BuckTommy story is short and they broke up, all the people that love Tommy Kinard, BuckTommy and Lou aren't the nasty one.