#but mostly i just prefer it because i think it's better storytelling

[silverwhittlingknife]

comics are super-contradictory on what the pit does, but YEAH, i'm 100% with you, OP. it should have bad consequences!!

if you want some of the lazarus pit stories that skew more toward the ominous side, i think some good comics to check out are

batman 243 (first comic to introduce the lazarus pit)

lost days (backstory for jason's resurrection)

resurrection of ra's al-ghul (dick & tim fight over whether tim should experiment to see if he can use the lazarus pit to bring back his loved ones)

I do not care about what canon says, pit "madness" exists to me. Not because I need an excuse for Jason's violence and the murder attempts on his family, but because, from a storytelling point of view, you need your immortality bath water to have some consequences for your heroes to not use it every tuesday. You want death and injuries to still matter, it is silly for your characters to be worried about each others' health when they can just take a dip in the magic green goop and be back in one piece without side effects. Which is literally what is going on now in the comics, with the batkids dying and immediately being resurrected with a sip of the forbidden green smoothie. Like, what's the point than? You're going to tell me the tale of a man who created a symbol from his grief, only to give him some magic goop that can make him and his loved ones immortals without drawbacks, and I'm supposed to believe he would refuse that power? That he would not have dip Jason himself the moment the kid died if there was no consequences? Nuh uh. Like, I can understand a "immortality is against nature" as the simple reason why your heroes would be against using it, BUT when we are talking about a child that was murdered, it's not really immortality to bring him back to life, so it doesn't work.

Immortality must have some aftereffects so your heroes can understand the attraction to its use, but the cons are too much for them to actually do.

[daisywords]

Finished The Night Circus. underwhelming. felt like it needed at least two more drafts tbh.

sorry to everyone that absolutely loves this book like I do see it. I see the appeal. But imo none of the elements that made it interesting were used to their full potential. I thought the plotline would have benefited from a tighter causal chain instead of things just happening at some point because someone decided it might as well happen now, I guess.

It's definitely a valid choice to treat the reader as a sort of outsider in order to prioritize a sense of mystery, but in some ways I felt too far removed to properly care about any of the characters or stakes.

Lots of unnecessary summary; not enough convincing me. More moodboard than story. Also apparently no one involved in any step of the publication process knew how to punctuate.

[thethiefandtheairbender]

as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.

Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.

Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.

The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.

Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.

TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.

Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).

But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.

That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.

Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.

Thank you and goodnight

(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)

[vi-arcanes-left-biceps]

Coming to terms with the fact that the things I did not like from Arcane S3 are mostly related to what was wanted and needed to be told following time and lore constraints. Or at least I think many things were.

I'd like to start by saying that I do not hate the ending or dislike it particularly. I think the series did pretty well with the resources they had and made very good visual and dialogue storytelling, even if I'd prefer things to be different. However, There was something that bugged me about it and I was not able to put it into words until I rested from the finale-induced-high and got away from silly discourse. This is my interpretation and reading of the story so you don't necessarily have to agree idk.

I feel like Vi's and Jinx's arcs were sort of uncoordinated, which while realistic, it feels kind of unsatisfying, at least to me.

Vi's fatal flaw is self-sacrificing for her loved ones, over and over again. Of course, her arc is about learning to choose herself, open herself to be taken care of and not be always the caretaker, and coming to terms with the fact that she just can't save everyone. The thing is she doesn't choose herself -she is forced to choose herself, two times, by Jinx. The tragedy is that she's unable to learn that lesson by herself and in the end she kind of doesn't. Jinx's sacrifice is what gives her a clean slate to begin again and be able to start from scartch, to finally let go of the past (loosing Vander and Powder again, this time, having a support system and a space to grieve and heal). So, I get that makes sense as a narrative and alligns with how the series had been constructed. I don't think it's bad, though as a storyteller/story enjoyer, I don't personally like unconditional love as the fatal flaw for a greek tragedy-like story.

Then, Jinx's arc is about her feeling that she ruins everything, and that she feels unable to do anything but destroy what she loves. She also needs to let go of years of guilt and emotional abuse. She begins to find herself and start having healthy relationships in S2 and particularly after meeting Isha. She sees herself reflected in her, understands her sister better, and both are able to make amends until tragedy strikes again and she re-lapses into seeing herself as a jinx. Her tragedy seems to be being unable to escape that destiny. And I use "seems" because she sees another way after speaking to Ekko: she's able to learn that there are more possibilities to who she can be and that her identity is not tied to causing pain - that she can create her own destiny.

So now let's go to the final chapter. By ep.9, Jinx is ready to try again and find her identity. She's ready to make peace with all that happened. She's ready to walk away from Vi, not out of pain and a sense of doom, but out of the knowledge that she cannot stay in Zaun/Piltover, she needs to walk away to be able to start again.

So this is what is unbalanced. Jinx was able to mature throughout the series, to see other options for herself, and to see them for her sister, too. Vi was unable to let go and had to be forced.

Jinx dying, from Vi's perspective, finished her personal tragedy. It closes the cycle of pain that she's been re-living the whole series, albeit with a very sad ending, and leaves a space for her to finally grieve for real. And it would also be a tragedy for Jinx, who was so close to recovering, to have an ending like this. She closes the story that she accidentally started with that bomb. Vi's fatal flaw, being unable to let go of Vander, causes the end of the cycle -just like Jinx's tragic 'curse' started it for the sisters. I get this interpretation and that it is somewhat poetic. That doesn't mean I like it, not as it was developed. S2 seemed to be going for a Jinx redemption and for freeing her of the destiny of losing her loved ones. Killing her off, then, seems very unsatisfying because I feel that if we were going for the tragedy angle, some more development would have been needed, and the time constraints did dirty to that narrative.

HOWEVER, and this is my interpretation of events, I think Jinx survived the final explosion and walked away on the blimp. I belive there are enough intentional clues to believe so, even if they do not want to confirm. I don't like the narrative of the suicidal character comitting suicide just after finding a reason to keep going.... I get the tragedy but I'm sorry but that's overdone and also unsatisfying to me given what had been shown so far! So this might be a cope, but bear with me and even if you don't believe she is, pretend she's alive.

Jinx surviving the explosion, from my point of view, is not only a very Jinx-like thing to do, it would allow her to both close the chapter and close her arc in a satisfying way, with her going away to a place where she is not tied to her history in Zaun (Silco's right arm, unwilling resistance symbol, searched criminal, sister to Vi) and she can start again. I'd love that ending for Jinx and I think that's what's happened -as there are many hints to see it.

BUT then, Vi is the one who did not move on. She wasn't given a chance to exit the cycle. She was forced to. She needed to lose Vander and her sister again -that I agree- to be able to grieve properly. But I can see an unbalance in Jinx re-gaining her agency and finally making a choice for herself, and Vi not getting the chance to do so. Realistic, yes, but sort of unsatisfying.

I'll elaborate -I'm not against the tragic angle per se, even if I'd liked to see Vi have more agency, I don't think she as a character was written as ready to grow to walk away (more runtine would have worked to do that, though) and it's cool that Jinx can be the one to protect her sister this once. But then, if Jinx is alive, is Vi really going to be able to grow from this? If she finds out Jinx is alive, would she not be unable to give her up? The cycle is not closed from her end. If the end of her arc is her losing Jinx forcefully, because she was unable to let go, with Jinx alive, and without a proper goodbye, her arc remains opened. That's what bugs me.

I understand lore-wise they probably can't kill off the champions (not definitevely) and Jinx and Vi need to be separate. From the little I know Jinx has more relationships with other champions so it also makes sense for the door to be open to her being alive and explore this in future series (hence providing clues that Jinx may have survived and not confirming it). But this, together with the season having little time to delve into many things that we had to infer, makes the ending of both of their arcs kinda weird and unbalanced. If it's a full greek tragedy ending, with Jinx dying, then her character progress feels cut short. If Jinx is alive, but they could not confirm it because it's not clear what will be done next in the series universe, Vi's arc remains unsatisfyingly open. They could not give a scene of the sisters saying goodbye because Vi was not ready not move on -they needed more screentime to deal with their relationship for that to work- and probably because they did not want a clear "Jinx is alive" ending.

I still think this is an amazing series, the ending is not disappointing despite this and I can understand why certain decisions were taken, but I would have loved for it to be slightly different, with more runtime and less lore constraints to the narrative.

[indie-ttrpg-of-the-week]

Wanderhome

"You should play an obligate sexual cannibal in Wanderhome I think it'd be funny" - Jay Dragon, developer of Wanderhome

Touchstones:  Ghibli films

Genre: Cozy game, Adventure

What is this game?:  Wanderhome is a game about playing small critters travelling, to where? who knows, its the journey that counts, not the destination

How's the gameplay?: Wanderhome functions on the Belong outside Belonging framework, which functions in a push/pull of Tokens, Tokens allow you to take negative plot beats in return for later having positive plot beats! there's also playbooks that specify what you can spend tokens on and how you gain them. Wanderhome is a very simple game, this is because it lacks a GM! storytelling is done entirely collaboratively, it works shockingly well, especially with such a simple setting and premise!

What's the setting (If any) like?: Wanderhome's setting places the players in a pastoral landscape ravaged by a prior war. The world is healing, the people are hurt, and things are getting weird. The setting has some extra lore, like the Little Gods, in effect "God" is a very strange concept in the world of Wanderhome, being a collection of tiny deities that make up the world, rather than one or 10 centralizing figures. The setting of wanderhome is a large draw of the game, and I'll leave the rest for you to find out. Oh also, the players are all small furry critters, and the usual roles of cattle and other things are replaced by very large bugs, this is the big aesthetic draw of the game.

What's the tone?: Wanderhome's is a world where things got very dire a while back, but things are getting better, people are healing, gradually, and the horrors of the past are being reconciled with. It's a setting largely about healing and improving  

Session length: Wanderhome lends itself to shorter, 1-2 hour long games

Number of Players: 2-6 are all fully possible, however, in my opinion, 3-5 is preferable 

Malleability: Wanderhome's mechanics are faaaairly generic and can be modded into many other things, even if the setting is a large draw and part of the game. This is a game I'd honestly recommend mostly sticking to the default setting, though, just because it's so interesting

Resources: Wanderhome has a ton of extra fan playbooks, some extra official playbooks, though its lacking on group sheets (That I could find) and other useful things, its a very simple game, though, its not like you require a lot

Wanderhome asks the question, "What if Ghibli-inspired games took more than surface level aesthetic inspirations?" and runs with it to create one of the tightest and most interesting experiences currently in the space, it's a wonderful game made all the better by one of the most beautiful books i've ever seen

[gingermintpepper]

Day 5: Orpheus

Interpretation notes and trivia under the cut!

Orfeu meu amor <333 Honestly this could be my longest ever set of notes or the shortest because unlike literally any of the other Apollonian figures in this, I have never once had to waver from what I wanted with Orpheus and that's an Orpheus without Eurydice. I know that sounds kind of strange, Orpheus and Eurydice have always been completely synonymous with each other but like, Orpheus is kind of completely batshit as a concept and I'm tired of pretending the most interesting thing about him is his love life?? His love life is cool, don't get me wrong, but we, collectively, as a group of people don't pay nearly enough attention to the fact that Orpheus was singer and musician so gifted that he made trees and rocks bow to him and he could stir even the gods to grieve from his songs. This is the guy who's song was so beautiful that not only did he outsing the Sirens, they also killed themselves upon hearing his song?? This is the man that was pulled apart but his head just?? Kept on singing??? So the Muses just???? Added his perpetually singing decapitated head to their choir??? There are depictions of Apollo using said decapitated head to help him teach people???? And we're gonna focus on him trying to get his dead wife back?????? Really?? Miss me with that nonsense, Orpheus is the witchest witch to ever witch and if no one else is gonna make him the disgustingly powerful bard he was in myth then I guess I'll have to do it myself. His femme appearance is mostly inspired by the highly ornamental raiment of kithara players and he consistently has some of the fanciest clothes of the cast apocalyptic hellscape be damned.

Some assorted trivia:

Son of Apollo and Calliope - was accidentally conceived during the period when Artemis had forbid Apollo from fraternising with mortal creatures in penance for him orchestrating Orion's death and so Calliope and the other Muses hid him away in the court of King Oeagrus. Didn't know Apollo was actually his father until quite a bit later.

Not a demigod as that would imply he's half human. Orpheus isn't exactly mortal either but he certainly cannot be harmed by most normal methods. There's no formal name for something half god, half muse and not deathless so Orpheus prefers to identify as the Son of a Muse rather identifying strongly as something strictly divine.

Older than Heracles! One of Apollo's oldest children still kicking about, actually, but he's treated like the youngest due to how fragile he'd been after Eurydice's death. Is generally better now than he used to be, but still tends to have depressive episodes every now and again.

Horrifyingly powerful. Orpheus' words are so potent that he does his best to not speak at all for fear of influencing the people around him accidentally. Has the uncanny ability to transmit his own feelings through his songs which can be both fantastic and awful. The Twelve had Apollo put a seal on his tongue when he was grieving so his song would stop completely disrupting the world. The seal's since been removed as Orpheus has had a lot of help working through his feelings. Now he paints whenever he thinks about Eurydice which is much more productive for everyone involved.

Argonaut, storied traveller, speaker of many languages, healer, teacher and storyteller. Teaches occasionally at the Parnassus Institute for Gifted Children and tends to be a favoured teacher whenever he drops by. Is responsible for a lot of very important people knowing some form signed or gestured language.

Has no set 'home' and wanders from temple to temple, sanctuary to sanctuary. His worldly belongings like his clothes and old paintings are currently with Asclepius and his family. Apollo has some of his stuff as well, but they're mostly special instruments like the holy lyre he used on his journey on the Argo.

Never keeps any money on him and is usually fed and clothed by the townspeople wherever he goes. Hasn't had to actually pay for something in decades. Has absolutely no concept of money because he'd forgotten it's a thing people need day to day.

Had a brief fling with Heracles while he was still mortal and the two remain on good terms even now. Heracles tends to visit him every now and again for a stint in some springs and good music.

Favourite colour is maple orange, favourite food is roasted pheasant with rosemary and thyme. Allergic to specifically pale yellow mead but is fine with raw honey and honeycomb. Aristaeus has been trying to figure out what causes his reactions for years now.

[mohgreal]

Hii long anon, I went anonymous because I felt self conscious about writing a lot and I'm new to tumblr haha. I think I've been going kind of insane over the DLC, mostly because it's just so. disappointing? Elden Ring got me into Fromsoft, and I loved the world building, but with the DLC it feels so. broken? Just full on contrived and boring. Miquella feels secondary to the DLC. The twist feels like they chose it because people liked the one character. Even "Evil" Miq could've been cool

Elden Ring also got me into Fromsoftware. I tried dark souls 1 for a few hours but I couldn't get into it and the lore didn't seem interesting enough to me. I tried dark souls 2, and then 3, and then sekiro, and then armored core...

none of them clicked. then I played elden ring and I LOVED IT. it's still one of my fav games of all time no matter how bad SOTE may be. It is very disappointing in so many ways. It feels unpolished and empty at times in terms of gameplay, and the lore...oh the lore.

It feels like they went with this weird no hope grimdark path for the dlc which I really hate because if everything is so dark, why should I care in the first place? To add, its not even cool like frenzied flame or destined death. No, it's just this bland sandwich of storytelling that feels so...nothing? I can't remember the last time elden ring lore felt so boring.

I would've loved to see "evil" Miquella if they leaned into it, not this half baked attempt at making him morally grey with the bewitching stuff. The bewitchment stuff is very inconsistent imo.

If they were going with a "evil" Miquella they could've had a corrupted deathblight Miquella or something. It would include Godwyn and give us that corruption fight alot of the fanbase seems to want. Since the eclipse failed (which is then never mentioned again in SOTE), he could've been infected with the death curse, and then turn 100 percent evil and go crazy. That would've been much more fun and interesting then we got. Hell, we could've had a morally white good and nice boy Miquella and it would've been better. It would give that undertone of hope elden ring so desprately needed.

I just don't understand the whole "boring griffith" approach on Miquella. He feels like a backround character in his own DLC, mind you. They couldn't even show us his face or full body. He barely shows up and only gets mentioned through his followers. I will admit I like how saint trina is written for the most part, even if I would've prefered a "evil" saint trina and "good" Miquella.

and there I go ranting about sote lore again, well whatever

[snapscube]

what i find interesting is that i think the sonic games are more suited for fandubs because of their cutscene direction. most games storytelling and cutscenes are filled with actual complex acting, environments, and framing, which tell a very clear story with just visuals. when you mute them you can kinda get the vibe of whats goign on still. however with sonic, especially sonic 06, a lot of these cutscenes take place in a pretty empty locale, with not a lot of character interaction with the environment, and very few actual objects and props in use. theres also not a lot of real facial expressions or lip movements. when muted, it already becomes visually very similar to a recorded improv show, where the story and place in the settings is mostly told through what is being done and being said. because of this, its so much easier to improv on top of because you're working from a much broader, less defined template. anyways idk thats my thoughts

I don't think it's really all that cut and dry tbh, and I even disagree to an extent? I think people tend to prefer the Sonic dubs because like, the visual style feels "funnier"? But personally I actually find it a LOT easier to dub over the more photorealistic games we do, as the pacing is better suited to naturalistic conversation which fits the format a lot better imo. On top of that, I think tonal juxtaposition is part of what makes RTF so good in the first place, and I feel like we have a lot more to add to a project comedically when the source material is relatively grounded and self-serious. Vibes of Rude Mountain was a great example of this imo.

[syaolaurant]

Hello hello, I love your work and was wondering if you'd be open to making a little breakdown of your art style?

It's really interesting to me and I love taking bits of different artists art style elements and incorporating them into my doodles to get better

Totally okay if you don't want to! 💜💜💜

Take care and have an amazing life 🤗💜☺️

Hello!! Thanks for asking 🤗 I'm not making a little breakdown of my art style I already WROTE A WHOLE ESSAY ABOUT IT!!

Sorry I exaggerated it a bit🥲🥲...

I was very happy to receive this ask, but at the same time I felt worried. Honestly, I didn’t know how to give you a relevant answer because  I don’t even think I have a consistent art style 🥲. Except for my usual chibi style which I feel most comfortable with, I feel my style constantly changes. So after going back to review my old paintings, I think my style is a combination of children's book illustrations and Japanese anime style. Many times I have received comments about my paintings looking like they are from children's books, and I agree haha, maybe because I mostly draw small characters in big settings and I usually use bright colors. 

My favorite artists:

My drawing style is mostly influenced by my all time favorite artists Heikala and Koyamori, I stumbled across their Insta accounts during my 1st year in college (that was 10 years ago) and from then my drawing style gradually took shape. I also admire Paulina Cassidy, mostly because I like her whimsical nature sprites theme. Recently I’ve been investing in Stephanie Law’s artwork, her coloring technique is so god-like that I hope one day I can reach that level…

Ideas and Inspirations:

Japanese anime/manga culture has had a great impact on my childhood. It was a dream come true for me to be able to pursue my college study in Japan. I think this journey greatly affected my current style. I draw lots of things from small doodles to funny comics. I'd describe my drawings as “silly and cute” since I love to make people laugh and I also live for the fluffs (Sometimes I drew angst too but it still turned out cute haha..). Aside from that,  I prefer making “storytelling” illustrations with colorful backgrounds. My favorite things to draw are tiny characters in big scenery, I like to create peaceful static moments that when looking at them help warm my heart and calm my mind. 

When making game fanarts, I usually take screenshots as references for background and imagine how the character will act in that setting. I just do what I feel comfortable and use my own judgment for composition … which… sometimes results in weird perspectives (and you know what I’ve just discovered the rule of third recently 😅…). 

Characters:

When it comes to drawing characters, I honestly don't know how to explain my style. I think chibi is my most recognizable style, apart from that I usually draw characters in semi-chibi (is it the right way to call it??) or simple anime style. I don’t usually draw characters with dynamic poses or movements ( that’s why I still suck at anatomy and expression 😩😩). I think I’m shifting from anime to a more cartoon style since I kinda have same face problem and  I’m trying to practice face shapes.

I think my character drawing style is most influenced by Akihiko Yoshida (who is behind many FF/Nier/ bravely default concepts), as I always draw my characters with chubby round faces and dreamy eyes. I made an example of how I usually draw my characters below.

Technique: 

Watercolor technique is quite complex so I’ll explain how I always do my paintings in another sharing post. I’ve posted part 1 of my sharing here. Generally, I love using bright, saturated tones and black ink brush pen or color brush to paint line work. 

. I hope I could answer your question. I’m definitely no expert, all the things about art I've learn was self-taught but I'm happy to help anyway I can. 💕💕

And you 🫵🫵 yes you dear sweet anon! I wish you a happy life too!!!! 💕💕

[anathemafiction]

Hello! I just want to say that i fell in love with your writing! Is so poetic, light and fresh! Thank you for writing! And your book made me want to learn how to write. Do your have some pointers to where i should start? (oh, and im from Brazil! So english is quite hard for me, but your english is incredible!). Thank for your time!

Hello! Thank you so much for your words. E abraços de Lisboa para o Brasil. ♡♡

So, I've gotten a few requests for writing advice, specifically, IF writing advice. And while I understand why people may want to hear from me, I really feel the need to state that I am very much still an amateur, wannabe author. 

This isn't me trying to be fake humble or gain sympathy points, it's simply the cold truth. I'm not comfortable giving advice because I'm still learning every day. I've made a lot — and I mean, a lot — of mistakes with Book One. There's so much that, looking back, I did wrong and would change if I could go back in time, but alas, that's impossible, so I must do what all humans do: take it in, learn from it, and do better next time.

Next time is Book Two, and I'm sure that, once I'm done with that, there'll be new errors and new ways I'll find that I could have done better. The important thing is, of course, never to repeat the same mistake twice.

The only advice I'll give regarding writing, in general, is this: read. Read as much and as diversely as you can. Read other Interactive Fiction games, but mostly, read books. Read the classics, read the ones that were banned, read horror and sci-fi and romance and fantasy and historical and philosophical and poetry and dystopian and everything you can get your hands on. Read books from your country and language, but please, read other cultures too. Read books people swear are amazing and read books badly rated. Read what you like and what you think you dislike. And, most of all, never stop reading. Read every day.

Slowly, gradually, you'll start to find your style. You'll find what you like and how you like it. You'll find out whether you describe a scene better using the senses - the weather, the light, the smells, the background noise - or if you prefer to pay as little detail to the surroundings as possible. You'll find whether you like an active narrator, different POVs, tales written like dialogues, or as ethereal as if watched from the eyes of a God. 

For interactive fiction in general? I'll say, write a good outline. I didn't have one for Book One, and now that I do for Book Two, it's a completely different ballpark. 

My method is to write a first draft of a chapter on paper and pencil where I do one "path" until I reach the end of the chapter. Then, go on Word and fill out all the choices and paths, basically completing the chapter — that's draft two. Draft three is after I put it all in code and do a deep edit. But I'm very much aware my method won't work with everyone (it most likely won't work with the majority of people).

For coding, let me redirect you to this old ask: Here.

There are a lot of more experienced IF writers on Tumblr who have made amazing posts about writing IFs, coding, and storytelling in general. I can direct you to Hannah, a veteran COG and game writer — @hpowellsmith. But there are others! 

[qballqueue]

Bloomburrow's story is good

Having just binged the audio version of the Bloomburrow story, I can say with genuine surprise that I actually enjoyed it a lot??? I'm stunned, legitimately, that it actually delivered.

For context, I'm not an avid reader of the Magic story. It had been so reinforced from community consensus--as well as my own experience--that the story for each set was largely lacklustre, existing mostly so people could see what their favourite blorbos were up to instead of actual entertainment, that I hardly bothered reading them and stuck to story recaps on Youtube. It had always seemed to be a better use of my time.

This was echoed by my reading of the Thunder Junction story. I loved the idea of Magic Cowboys, so I actually dove in to read this one as it was being released, and it was meh at best. It was a story where most of the characters were reappearing ones instead of new, almost none of whom felt they had any reason or motivation for wanting to be there. And the climax largely centred on a cliffhanger, which left a lot of narrative tension feeling unresolved.

(For the record, absolutely no shade thrown towards author of the OTJ story articles, Akemi Dawn Bowman. I found the actually writing to be enjoyable, and I'm 80% sure most of my issues with the narrative were mandated to be there)

I went into Bloomburrow expecting more of the same, honestly. I only really started it because I needed something to listen to, but, like, holy shit. We have a mostly original cast that's simple but fun. We have a plot that's almost entirely self-contained, with no larger narrative implications so it's just allowed to be itself. We actually only have one reappearing character who joins in on the current story instead of taking it over. It's just a short, pleasant ride you can finish in an afternoon.

I do have some issues. For starters, the prophecy that happens at the end felt like a shoe-horned in way to remind people that there's supposed to be an over-arching plot. I do prefer it to the 'something interesting is going to happen soon, we promise' form of storytelling longer narratives often fall prey to, which MtG's story often does, but I would just as soon do without an over-arching story at all if I'm being honest.

The pacing also felt a bit rushed. By the time we get to chapter five, it feels like we're only at the middle of the story, but then the antagonist's introduction, their explanation, a couple climatic battles, and the ending happen all at once. It felt like I had skipped something, but this feels more like an issue with WotC only allowing five chapters per set and one set per plane.

Speaking of which, if the quality of the Bloomburrow story is doing anything, it's highlighting how shitty it is that each plane only gets one set worth of story before we have to leave again. I liked the story, so it's a shame that as soon as the set arrives it'll be gone for a while; WotC almost assuredly has the next year-or-so's worth of sets planned out already, so if there ever is more Bloomburrow story it'll be way in the future, and not because someone decided to put faith in it--it'll be because it proved profitable enough for a revisit.

So, yeah. You know the drill: artistic integrity good, capitalism bad, etc., etc.. But I will say that I think these story articles are worth a look. Kudos to the author, Valerie Valdes, and the entire story team.

[orchestrated-haunting]

Random dnd headcannons I had for some characters of the epic cycle because I just had neurons activate. This is gonna be long so they’re mostly under the cut.

Odysseus would be the DM, making riddles and puzzles for the party that he thinks is pretty easy to solve, but the party still spends the entire session trying to solve it.

He likes to fuck around with everyone. Has a doppelgänger infiltrated the party? Yeah probably. Has someone been following the party? Most likely. The party has to be on their toes at all times.

Odysseus plans far in advance for his sessions and somehow (like every dnd party does) the party goes in the completely opposite direction, so Odysseus is improving the majority of the sessions, but thanks to his storytelling abilities literally no one can tell unless Odysseus expresses how much he’s flying by the seat of his pants.

Achilles would prefer to play martial classes like fighter or barbarian. It’s not that he doesn’t like the spell casting classes, he just prefers to be on the front line. Give him a lvl 20 fighter and that man will go HAM.

He falls head over heels for every NPC he meets. He wants to smooch every single one. The rest of the party just sigh at his antics.

He and doors hate each other (he spent like 5 turns trying to open a locked door before he eventually got pissed off and just broke it down).

Patroclus prefers tanky classes that can also support the others so cleric and paladin are the classes he tends to play.

That being said he still loves to do damage. His main build is almost always a battle cleric so he can still heal but leave the majority of it to someone who is exclusively a healer.

Hector, man, he’d likely multiclass between something that’s support but also a martial class. I could see him playing a Paladin build the most often.

I think he tried to play a full caster class once and decided there was just to many things to keep on top of for himself, but he still enjoyed how useful spells are so he doesn’t mind a half caster class.

And while the majority of the party are probably chaotic neutral, he plays almost exclusively lawful characters. His characters almost always have a strict set of morals and a code that they follow.

I could see Paris playing caster classes. Give him any charisma caster, warlock, bard, etc. and he is having the time of his life.

Like Achilles I think he would try and romance so many NPCs, and boy does he use that charisma stat to its full potential. If he’s a bard you better assume he’s also using bardic inspiration on himself.

Penthesilea and Achilles are always trying to one up each other. She almost exclusively plays barbarians and if Achilles is playing one as well they WILL keep a kill count to see who ends up having killed the most by the end of the campaign.

She’s the starter of the tavern brawls, to which Achilles and Patroclus gladly join in. She’s also the one who is always the test dummy if the party is afraid of traps or failing a puzzle.

“What if it’s trapped??”

“I open the door.”

“Take 2d6 fire damage.”

At first you’d think Circe would play spellcasting classes but she does enough of that as is she’d want to do something completely opposite like a rouge. She’d love that.

I can see her giggling after pick pocketing one of the other party members while she just waits for them to figure it out. She’s a menace in a different way than either Achilles of Paris.

She’s not trying to romance any NPCs if she wanted to romance someone she’d just choose a real person. But boy her characters have sticky fingers.

[anonymousredactedconfessions]

To the anon asking if there were other boyfriend ASMR/audio roleplay channels with plots at least on par with Redacted, you're in luck! I mostly listen to plot-driven stuff so here's my recommendations.

Good Boy Audios: He has multiple series, all of them take place in the same universe but in different settings. His romance is a lot more slower burn than something like Redacted but that's fine, because I like slow burn and the plots keep me hooked. I recommend Bastard Warrior and Space Pirate Saga.

Escaped Audios: Super cinematic channel with a very strong focus on storytelling. He has a good balance between adventure and romance, and his playlists perfectly blend the two in almost every series. All of of his series feel like living through a movie. I recommend The Neon Barbarian/Neon Wings if you like bittersweet romance/angst, and The New Jersey Rats if you prefer a more light-hearted romantic adventure.

ZSakuVA: Priest already mentioned him but he's great. He has tons of characters who each have their own playlist. Some of his characters occupy the same universe and share the same story, kind of like what Redacted does. I recommend listening to his Elias (mafia son) and Issac (boss) playlists back to back, they complete eachother's stories and I love the boyfriend stuff.

Desmond ASMR: He uploads on a really slow schedule but all of his videos are super long and well made, almost movie length sometimes. I love his voice and his characters, and there's always an element of adventure in his work. I recommend his arranged marriage series and his gladiator series.

Siren's Son: He's kind of like Redacted in that a lot of his work takes place in a shared universe and there's a mix of both plot-driven arcs as well as fluff/comfort/boyfriend roleplay arcs scattered throughout. His Westhaven series is one of my comfort series that I re-listen to over and over. Also, honorable mention to Obsidian Lantern. Siren's Son and him collab together on a series called Gator Boys set in SS's universe and it's great.

Scythe Audio: A super exciting channel. He has romance/boyfriend roleplay but he's more of a story and action focused channel (we love him for it). I love his fucked up monstrous and villainous characters. I've been obsessed with his V/Villain Saga for like two years now and it just keeps getting better. I also recommend his Werewolf action/horror series, The Alpha Claw Saga.

Nomad's Tales: He's been around a long time and has a huge body of work with really entertaining series. He's just now starting season two of his series Frosthaven so it's the perfect time to catch up! I also like his Yandere Knight playlist and A Theif's Tale (a modern romance/thriller).

Those are the best story driven boyfriend ASMR/audio roleplay channels I know of. If anyone has more recommendations I'd love to hear them.

- 🖤 Blackheart anon

.

(usually don't respond to confessions and whatnot, but i will say that you should probably NOT support Siren's Son. He has made it very clear that he is anti-choice/pro-forced birth/anti-abortion/pro-life whatever you wanna call it. I wouldn't be giving youtube revenue money to someone that thinks half the human population doesn't deserve or have a right to bodily autonomy)

Receipts below the cut.

[on-wine-dark-seas]

1-35 for the Get To Know Your Fic Writer meme, please! 🖤

Mer. 🥹🫀

Starting to love the homework assignments. Thanks for letting me yap.

1. Do you prefer writing one-shots or multi-chaptered fics?

Multi-chaptered fics. Sometimes it's one story, and sometimes it's a compendium or anthology.

2. Do you plan each chapter ahead or write as you go?

I keep a rough outline of each chapter in the sidebar of each one. Scrivener is such a godsend and has improved my process so much.

3. Describe the creative process of writing a chapter/fic.

I treat it like a thesis paper: what is the core message of my story? Like what the hell am I trying to say? Okay, got it. Now, how do I say it to the readers via the expression of these characters in this particular world? Alright, we have a story premise.

Then I break it down. How do I want to open the chapter to establish the thesis and the beginning of the protagonist's story? Alright, let's build something.

The rest is just me being high and losing my entire goddamn mind at 3 AM with one scene on loop.

4. Where do you find inspiration for new ideas?

I read. I'm so serious. And not just fic. I read actual books. I'm always looking for interesting storytelling in the wilds. Full disclosure: read more trans lesbian lit. The dolls are killing the SFF game right now.

5. Do you like constructive criticism?

Only from people with whom I've established a rapport and mutual respect for one another and our craft. I have had people be very nasty to me about my writing under the guise of "concrit" and so as a result, my confidence in my writing plummeted. People need to understand that when I trust you enough to share something I've created with you in hopes of getting your opinion, it's not an opportunity for you to tear me down. And yes, I can tell when concrit is given in good faith.

6. Do you have your work beta'd? How important is this to your process?

I don't have beta readers and I never have save for like...once. I honestly don't even know how to go about requesting one. I would rather have someone who is genuinely interested in helping me polish my stories giving my shit a read.

7. How do you choose which POV to write from?

Mostly third-person limited or first person.

8. Do you prefer the beginning, middle, or end of a story?

I try to bookend. I need to know how the journey starts, and how it ends. I am bad at endings so this is why I try and think of an ending first. Because it makes getting there easier.

9. Do you comment on stories you read?

Always. I've gotten so much better about praising the writers whose work I enjoy because I know that kind of encouragement makes the whole process of writing and sharing less lonely and daunting.

10. Cltr+f "blinks" on your WIP & copy paste the first sentence/paragraph that comes up.

“Šetû are you daydreaming again?” Ajani asks, handing her a bowl. Šetû blinks slowly, a waking dreamer pulled from a reverie she has yet to finish processing. She takes the bowl with gratitude.

11. Link your three favorite fics right now.

I have a collection called Exemplary Jujutsu Kaisen Fanfiction where I collect fanfics worth rereading, following, and discussing. I also have another collection where I collect fic that centers Black Female Characters OC or Reader or SI called The Black Girl Archive. Here's my definitive list. Most are either complete or actively in-progress.

Beneath the Silk by @phyx-m - Sukuna x f!Reader; I describe it as a dark and bloody Beauty & the Beast, only you're not really sure who the beast is in this situation. It's so good and Sukuna is so darkly seductive and menacing all throughout. It's coming to a head soon, so get on board.

Academic Affairs by ChocolateGranola - Sukuna x Gojo AU where they are academic rivals-to-lovers. I'm riveted.

Kindred Spirits by SkipGabe - A Sukuna x OC fic with super cool lore, great worldbuilding, and a very cool take on Sukuna's origins.

Monster Hospital by mushmoon12 - A Gojo x Reader-ish fic that is most assuredly enemies-to-lovers-to-enemies-to-??? and it's an emotional rollercoaster.

Like Silk by satans_onlyfans - A Sukuna x Reader-ish fic that...well. Let's just say there's more than one Vessel.

Cor Unum by @vampyrsm - Sukuna x Reader-ish fic that can only be described as a fucking masterpiece from start to finish. I would say this fic and Beneath the Silk are in conversation with one another thematically, and the exploration of Sukuna is so well-done. It does have dead dove elements so be forewarned.

The Tragedy of a Duality by @katerina-marie - a Gojo x Reader x Sukuna fic that...well it's in the title. I recommend all this author's JJK stuff but this one was an absolute standout for me.

Infidelity by @tawus - A Gojo x Reader fic where Gojo proceeds to cause the most emotional distress I have ever seen just because Reader wanted to go out to the club. I don't wanna spoil too much but oh my god. Seriously, a masterpiece.

No Cure by @tawus - A Gojo x Black Femme Reader. I was delighted to see a Black femme reader featured by such a prominent and talented writer, and it's one of the first Black femme reader fics I came across when I entered the fandom. Tawus is such a sweetheart too. Y'all go check out her stuff.

Sweet Little Lies by mooglepaws - A Toji x Reader and Reader x adult!Megumi non-curse!AU where Reader makes the best most horrible decision. The smut in this fic is astoundingly hot. Like maybe don't read this one in public.

Until Gojo Satoru by NoBirdWithintheCage - A Gojo x OC fic that chronicles the daughter of a curse user's ascension to the pinnacle of jujutsu society. It's an emotional rollercoaster and I love this story so much.

Tempo Robato by cloud_clarity & SecretPuddin - A Sukuna x Reader fic that completely knocked my socks off with the plot twist. The Reader is Sukuna's vessel in this story and things...get chaotic.

The Devil Takes Walks at Night by Sukunas_Doormat - A Sukuna x Reader fic that explores Sukuna's dark relationship with the Reader whom he meets the night he incarnates. There is also a sequel!

Convergence Theory by @achilleid - One of the earliest Gojo/Reader fics I read in the fandom and it does not disappoint. Reader is a distant relative of Gojo who also has the Limitless technique. And boy is Gojo a dick throughout the story. But they get it together eventually.

Daddy Duty Series by @sandwitchstories - For those who love some soft-for-his-wife Sukuna and girldad!Sukuna, Witch got exactly what you need. Sukuna getting roasted by a two year old made my day. I reread these when I'm feeling sad and need some warm and fuzzy Kuna.

They Kiss On the Ring. I Carry the Crown. by @yuujispinkhair - Mafia!Sukuna x f!Reader. It was one of the earliest Sukuna modern AUs I read and it has stuck with me ever since. I always go back and reread it when I want to feel good and sexy and giggle and kick my feet for a bit.

12. How does receiving or not receiving feedback/support impact you?

I barely get any feedback on my fics so I'll admit it definitely takes a lot out of my motivation to keep releasing fic because what is the point if no one is responding to it? I can just keep daydreaming about the stories and never publish them if I didn't care about wanting people to respond. I put a lot of time, energy, and love into every fic I write so to get little to no response actually does sting. And I am tired of pretending it doesn't.

13. what’s a common writing tip that you almost always follow?

I try to look at the world around me and find ways to describe it as a writer. Helps me practice word choice and flow.

14. how do you write emotional scenes? Do you ever feel what the characters feel? Do you draw from personal experiences?

I tap into a memory that evokes the emotion I'm trying to write. I don't think this is a necessarily healthy method but...it works for me.

15. How do you write smut scenes? Do you get very visual or detailed? How important is it to be realistic?

It's whatever the story calls for. I get blushy and shy writing smut especially when I have to get super detailed for some scenes. I'm trying to get better at writing smut and being realistic about too. But it's titillation, not an instruction manual. So it'll be wrapped in all my usual prose.

16. How many fic ideas are you nurturing right now? Share one of them?

Too many. Focused on my selfship right now.

17. What do you do when writing becomes difficult? (maybe a lack of inspiration or writers block)

Cry. Sleep. Get stoned. Listen to music. Reread old comments on my old work to remind myself I don't actually suck at this.

18. Do you title your fics before, during, or after the writing process? How do you come up with titles?

Once I get far enough in the story that I can pull a title that fits. Usually I'll consult my playlists and see if any lyrics stand out that fit the vibe of the story.

19. What is the most-used tag on your AO3?

Original Black Female Character. I noticed they changed the tag to Original Female Character of Color. Sigh.

20. Have you noticed any patterns in your fics? Words/expressions that appear a lot, themes, common settings, etc?

Of course. I have a lot of metaphor and simile I like to use in my works. Trying to find new ways to say the same shit, tho.

21. Would you ever collaborate with another writer for a story?

Of course. I did co-create the commissioned fic Crystalline but as for a true collaboration where we cowrite? That's literally the dream for someone like me. Like...imagine the way the fics would be cooking if more writers linked up to combine their ideas and talents? And AO3 literally accommodates this! It's such a great way to build true community and friendship with other creators in the fandom. I see visual artists do it all the time.

22. Are there certain types of writing you won’t do? (style, pov, genre, tropes, etc)

No incest/pedophilia/zoophilia/furry/ABO content. And I do have a hard limit for certain fetishes I won't write. I also won't write Reader fic. Sorry for those who love Reader fic but I am the OC x Canon CEO. I have written exactly (1) and I felt stifled the entire time.

23. Best writing advice for other writers?

Keep at it. And remember: comparison is the thief of joy. <-Definitely a reminder to myself too.

24. Worst writing advice anyone ever gave you?

I don't remember because I didn't take it. :3

25. What fic do you wish you got more of a response on?

All of them. They're sitting there, no comments, no reblogs save for my own and the network I'm apart of, no one asking to be tagged. Crickets, dust bunnies, and tumbleweeds out there. So...go read my shit fam. It'll mean a lot if you do.

26. Which of your fics would you call your wildest ride?

Maledictus. I was doing the most in that fic. Had so much fun writing Hadiza trapped on the back of a dragon trying to free it from captivity.

27. What is your most and least favorite part of writing?

Writing the damn story. I just want it to manifest on the page directly from my brain. LOL

28. On average, how much writing do you get done in a day?

6k a day.

29. What’s your revision or editing process like?

30. Do you share rough drafts or do you wait until it’s all polished?

With one or two people. @sandwitchstories share clips of our WIPs with each other, hype each other up, etc. It's so nice having someone to soundboard with and share creative energy with. Writing can be such a lonely process. But for the rest of y'all, you gotta wait until I drop it officially!

31. Do you start with the characters or the plot when writing?

They develop at the same time usually. But usually it's the characters I want to meet and have something that then spin the plot on how I'm gonna get them to meet or whatever.

32. Name three of your favorite fanfic writers.

@sandwitchstories @phyx-m SkipGabe

33. Do you want to be published some day?

I already am published. I don't share because my real name is attached to it...and people are always so weird to me on here.

34. Five years from now, where do you see yourself as a writer?

Still churning out Sukuna smut probably. These four-armed man got a hold on me.

35. What is one essential thing to remember when writing a villain?

They can be sympathetic without being the least bit sorry.

[asher-agere]

BSD agere headcanons (Part 5)

Part 5! The final part! I had so much fun writing these! Not sure what I’ll write next, so any and all requests are gladly accepted! I might write some more content for PJSK next. But for now enjoy the rest of my BSD agere headcanons!

☾⋆｡𖦹 °✩ Miscellaneous ☾⋆｡𖦹 °✩

Teruko is LITERALLY a regressor. I mean- She’s just perfect for it with her ability. She was forced to grow up wayy to fast, plus when she regresses she can literally use her ability to be a baby! Very demanding and emotional baby, wide age range from like 2-6. She’ll happily giggle and babble, but she’s also quick to cry! She wants all of her caregivers attention at all times. She doesn’t like sitting still to color or read a story. She wants to play! Even if she’s just a tiny baby, she’ll still be crawling around! Squirming to get away from her caregivers hold. She’s a bit of a hypocrite though. Because as she gets tired she’ll cry if she isn’t being held

Jōno I see as a regressor! He certainly doesn’t have the patience to be a caregiver. I think he’d regress to a toddler age around 3-5, tantrums are very common and he can be a bit of a sassy brat. If he doesn’t like something he won’t hesitate to tell his caregiver exactly that, and if he happens to be feeling young enough he can’t really talk he’ll just scream. I think when he’s regressed he’d struggle a lot more with the fact that he can’t see. He’d need to rely on his caregiver more and he’d hate it. At the end of the day though he’ll get very attached to his caregiver, and he loves playing pretend!

I can honestly Tetchō either way! As a regressor i think he’d be pretty tiny, like 2-4, he’d mostly be non-verbal. If his caregiver tries asking him questions he’ll just give them a blank look. He lacks a lot of common sense, his caregiver had better be ready to jump in at a moment notice. As a caregiver he’d be really laid back! He still lacks that common sense, but he’s aware of it! He’ll always keep his little one close by, preferably just in his lap, and anything they need to do he’ll offer to do it. Just to make sure nothing goes wrong!

I think Mushitarō is a regressor! I mean the trauma of losing Yokomizo must be such a crushing burden to carry… So let him be a baby to make up for it! Because a baby he definitely is, 1-3 I think. I think he’d activate his ability to play with and chase around the little ghosts that appear! He’d like watching mystery cartoons, he’d babble along with it, trying to solve the mysteries with the characters! He hates thunder and summer, sounds to me like he likes excuses to be held and bundled up! Being held during a scary thunder storm makes him feel safe, and winter is perfect cuddling weather!

Shirase absolutely regresses! I have the headcanon that most of the Sheep regressed and took care of each other. Shirase would have a wide age range though, around 1-7. Sometimes he’s just a tiny baby who can’t do anything but cling to his caregiver, other times he’ll be a mouthy little toddler! In baby space he’s very compliant, non-verbal but he’ll whine super loud if he isn’t happy! As a toddler he can be bratty though, always shortens words to be easier to say. He doesn’t like apologizing, but when he does he pulls out the puppy dog eyes and the sad hugs. He doesn’t wanna fight! Especially not if he’s the one in trouble…

Natsume would be such a good caregiver! I think he’d always have easy to grab and go snacks, perfect for a little one getting hungry super suddenly! He’d absolutely use his ability to turn into a cat and rub up against his babies legs trying to comfort them and keep them warm. However if they’re doing something he can’t handle in cat form he’ll immediately switch back. I think he’d be a really good storyteller too! He’ll happily listen to what his baby has to say, even if it’s just babbling! But if they don’t want to talk he’ll fill the silence! He’s good at balancing things out like that

Adam is definitely a caregiver! I think he’d be literally programmed to take care of a little one. The best part is that he’ll treat them like a literal baby! A robot won’t judge. He just does what he’s asked to do. He’d be amazing at problem solving! Non-verbal baby? Perfectly fine! How about simple sign language? Or drawing pictures? He’s good at calming someone down from being overstimulated, everything that he notices helping he’ll take note of and use it more in the future. He’ll talk his baby through everything going on, he’s a big logic user, he’ll reason his way through any worries the little one might have

Aya will be the best big sister ever! I mean she’s still a kid herself, for her it’s just like having a little sibling! She loves to play pretend with a little one, always marching around on missions! She can’t take care of someone on her own though, she’s just a helper. She’ll always take the little ones side too! She’ll tease whatever caregiver is there, encouraging the little one to do the same, even if they can only babble. She demands the best snacks for the baby and loves to feed them. She’ll also pick out outfits! She’d love getting to match with a baby

And that wraps up my BSD agere headcanons series! I hope you all enjoyed reading these, I certainly enjoyed writing them! Next I might finally make an introduction post… I’m a little out of order. Oopsies

[yuurivoice]

Hello! My name is Grim, and I fancy myself a bit of a researcher. Now, this is not for anything important or extremely serious. Instead, this is mostly for my own pure enjoyment and something I have in the works that is to be posted on Tumblr. You are not obligated to answer any or all of these questions I have posed. I know it’s a bit much. Take your time, but don’t feel obligated to do anything. Feel free to add any additional input! Thanks for your consideration!

1. How different do you think your work would be, in terms of getting across a point, in a different medium thats not Audio RP?

2. How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

3. How important do you find the voice acting in your work?

4. You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

5. Do you believe your own individual ability to voice characters enhances the story overall?

6. Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

7. As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

8. Is Audio RP your favored form of art?

9. How do you believe Audio RP differs from main stream forms of art/entertainment?

10. Do you believe that your work has over arching themes that relate to you personally? (very optional)

How different do you think your work would be, in terms of getting across a point, in a different medium thats not Audio RP?

Not all that different, I gather. I have never sunk my teeth so deep into the sound design and art of it being an audio based medium that it is fundamental to my storytelling. My strengths have always leaned more into the writing and characterization specifically. The actual difference would be the immediate proposition of inviting the listener to be an active participant, which alters the experience more than anything.

How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

I would probably be less inclined to beat the point into the audience with an extra degree or two of separation. There have been a handful of cases where I have intentionally doubled back to reiterate a point or respond to community reactions in real time through the text itself. See: BitterSweet Ch1 where Seth calls out potential insecurity about his appearance with a "if you have that little faith in Alphonse, you don't deserve him at all" type beat, or later on where there was an additional installment post-cinnamon roll where Al and Boo clear the air. Because this is all so much more personal and I'm right here on the frontlines, I'm inclined to really hammer home certain points because that sort of shit can start planting roots in your community if left unpruned. I don't love it, but it's part of the gig. In a less personal setting, I think artists just gotta let that shit float out into the ether and people are gonna feel how they're gonna feel. It's a double edged sword, and one I'll probably always be learning how to wield.

How important do you find the voice acting in your work?

Very important! This is where I think a distinction should be made for me in particular. I got into this making lewd noises with vague plots and scenarios attached. My passion has always been storytelling and writing, but my BUSINESS has been selling pretty boys with alluring voices. Given that my ass was broke when I started, this became work almost immediately. While I ain't thrilled about participating in a capitalistic society...I will get my motherfuckin' hustle on. Thankfully, I'm a filthy bastard and I don't really feel I've ever had to compromise my aRtIsTiC iNtEgRiTy for the sake of making a dollar, because of my origin. Saying all that to say, if I didn't have the goods vocally, people are less inclined to listen. Leveraging my voice acting to get people interested in my dreams of writing and sharing stories has been nothing short of a dream come true. I recognize how important it has been to try and improve and develop my acting as I've grown, because it all falls apart otherwise.

You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

Creating a hypothetical scenario where my livelihood isn't in the equation, I absolutely think I'd have fun purely writing/directing/producing a thing! My hesitation in that regard has much less to do with finding talent and removing my own voice, and more so managing people. I've had multiple occasions where my trust has been betrayed by close collaborators. It's one thing to have regular ol' interpersonal conflicts. It's another to have to manage the fallout of business partners getting hurt by one bad actor. Shit ain't rosy. People wonder why I'm slow to collaborate might not know the history, but those who do get where I'm coming from. All that being said, wounds heal and time marches on, and I have plans for projects that aren't entirely removed from me being at the forefront but definitely incorporate more talent!

Do you believe your own individual ability to voice characters enhances the story overall?

I don't personally feel my performances elevate my work on MOST cases. There are a few times where I know I gave a part of myself that most people could not have tapped into, but that's due to me being the writer and the subjects being deeply entwined with my personal experiences. Multiple Seth moments specifically were raw and real. The script didn't call for tears but they came, and I worked through it and was able to come out with some of the rawest, most honest performances I could dream of having in my own work. In general though, I don't particularly view myself as so talented that my vocal performances are transformative to the work itself. Not even trying to be humble, I just think people gravitate more towards the sum of the parts of my work and my voice isn't necessarily a force multiplier.

Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

I might have a polarizing take on this, because over recent years there has been a bit of a shift. Short answer: I'm kinda fucking over it. That might be blasphemous to some, so let me explain. When I kicked things off and really got started in the ASMR Roleplay scene, it was just understood with my content in particular that "listener" is just the listener, or whoever they'd like to imagine inserted into that POV role. As plot driven series started to become more popular, it became very clear that unless you want your story tied to some sort of ambiguous blob of clay with no agency, character, or fucks to give, you needed to give the listener character some sort of structure. That's natural and good and necessary if you don't want your listeners to feel like a dog getting dragged on a leash, being treated like they're in tow vs. participating. HOWEVER! I think you can also lose sight of the point of leaving enough of a slate for people to project onto. It's tricky, and sometimes burdensome, and not everyone can pull it off without somehow being exclusionary or somehow alienating portions of the audience. If it's due to a creative choice the artist feels confident about, then so be it, but sometimes it just happens due to lack of experience and practice. I think where I feel friction is that I appreciate the simplicity of a blank slate with a few key traits, introduced early, and built upon logically as to not jerk around your listeners. What I've gathered from the way people talk to me about listeners, is that they are accustomed to that sort of development and project those anxieties onto my work because of what they've heard before. To put a bow on this, I think listener insert audios are a very fun and unique way to tell a story, but require a great deal of care and consideration. Expectations have shifted over time, and maybe I'm just a stubborn old prick.

As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

I don't know if any of my listeners have quite taken me out of my comfort zone, save for a few bold choices I've made before involving a gun and a greasy bastard. I think the closest I've come to experiencing something like that was with Vampire Auron's finale, and specifically the spicy bits. It was kind of magical, actually. I did not realize it at the time, but it came to the surface that the listener might have been dealing with some heavy inner turmoil. Particularly the way they were careless with their wellbeing, seemingly comfortable bleeding out. I have avoided heavy topics pretty regularly, but in the booth I had a few epiphanies that this listener intended to confront him and meet their end. Death by Sexy Vampire is awesome and everything, but it turned into a really touching "I want you to live" right in the middle of my smut. So that in particular was a time where the listener really took me somewhere I not only didn't plan on going, but have actively avoided in the past.

Is Audio RP your favored form of art?

I don't know if this will be a polarizing answer either, but man, you couldn't pay me to consume Audio RP content. I am not comfortable listening to voices talking at me, or not having control of a thing that assumes I'm an active participant in. It's not a personal beef against the medium, I avoid ANYTHING that encourages you to put headphones on because I don't like isolated noises directly in my ear holes. I avoid traditional ASMR for that same reason. So for my personal consumption, it isn't even on my list of favorite art forms. In terms of art I create, it's interesting. I hated my voice all my life, thought it was horrible. I had fallen out of love with writing, the one thing I ever felt like I was any good at. I didn't even know what I was doing had a NAME throughout the first year of making audios. It started as a means to an end, and has become something I have an interesting relationship with. It's the only way I've been able to consistently connect with that dead love for writing. The only way I get to dance with the ghost of something I lost a long time ago when I was an entirely different human being. So I love her, but she can't ever be my first love. I don't know if I'd ever want her to be. If one day I get to explore other avenues with my creativity, nothing will ever change that it was this lovely niche that got me to remember who I was when I was one foot in the grave and ready to forget I ever had a creative bone in my body.

How do you believe Audio RP differs from main stream forms of art/entertainment?

It's terribly difficult to pitch to those who are unfamiliar with it. Most potential audience members are looking for some sort of visual engagement. The rise of ASMR and recognition for audible content has helped, but there will continue to be an uphill climb for recognition. I don't necessarily feel that's a bad thing. Not to mention, the stigma around self insert content is a hurdle in its own right. Ironically, when I was young and dumb I thought the very concept of Y/N Fanfiction was juvenile at best. Ohhhhh how the universe has a sense of irony. Needless to say, sticking your nose up to things you don't "get" can be more of an impedance than a statement on the quality of what you consume lol. That being said, that stigma is still there, but not nearly as prevalent as it was a few years ago. The proposition is a much more difficult sell even outside of that because you're telling the listener they're going to have to be a more active participant with their imagination. That takes more work and for some people is a deterrent, for others it's a perk!

Do you believe that your work has over arching themes that relate to you personally?

Unequivocally, yes. Sometimes to my own detriment, because creating something for public consumption that can be so personal and precious is a great recipe for taking things personally.

BitterSweet started as a straightforward excuse to create a "rival" for Alphonse, and immediately took a different shape as the story revealed itself to me. Now it is a statement on love in ALL OF ITS FORMS, which leads to friction with those who want it to explicitly be a polyamory story because it quite literally is meant for the listener to engage with this love in the way they feel comfortable with. People who reject that notion and believe it's some sort of cop out can choke. See? I don't want to tell people to go fuck themselves, but I most certainly will over this and their dipshit takes.

Throw in the parental shenanigans of BitterSweet, untapped themes of grief and guilt, so on and so on and you've got me sorting through a lot of my trauma. Despite the occasional frustration I've felt with the intellectually disingenuous, the payoff is also much more intense when I see people react to Seth and Jessie's relationship, or appreciate the deep care that the trio has for each other. So I take the good with the bad.

Auron is a great example as well with his need for control, him being a real "I'm not a VICTIM" type while also lowkey wanting a pat on the back. His fear of connection, and ego stroking self sacrifice. A lot of unenviable things I'm using my art to analyze, deconstruct, laugh at, etc.

So yeah. A lot of what I do hits close to home, and it usually wasn't part of the plan when I started writing. I've had many magical moments at the keyboard where a character or story starts to reveal a path I didn't plan on taking and it holds a mirror up to me. Despite some of the downsides of being so attached personally to my work, getting a hit of that drug will always bring me back. If I've gotta tear a few heads off along the way, frankly, I don't give a shit and I'll keep it moving.

Thank you for the wonderful questions, I love digging a little deeper and seeing what comes up! Hopefully my perspective was insightful, or at least a fun read.