#but thats also like. a realistic portrayal of how the situation would go. considering he has not taken the horm horm fruit transition

[pixeljade]

A fucking bath scene with not one but TWO trans characters bathing with their gender instead of the one assigned at birth, one piece RULES

[sights-on-the-scifi]

Violence in MASS EFFECT.

Alright Tumblr i’m gonna try even harder to satisfy your content laws... God I hope this posts.

MASS EFFECT 2 Marked a change in the creative direction of the series in many ways not just limited to style and presentation. But also in how it tackled violence in its narrative and gameplay.

It developed a near uncritical affection for its violence. Removing any semblance of scepticism towards its application with exception to a few storied and mechanical instances all for which will be talked about as we progress.

VIOLENCE IN GAMES AND OTHER FORMS OF MEDIA AS A WHOLE.

Before we begin ill like to explain to you why violence in a video game is so fun to the player on a mechanical basis. You see video game violence is complete fantasy that much is obvious just from looking at it I hope, it has no real basis in reality. For example the simple fact being that you are interacting with simulated combat via mouse and keyboard on a flat 2D surface, not with your hands, feet, arms, firearms, grenades and depth perception... Some games like the first CALL OF DUTY title go out of their way to communicate this very important distinction to you with its death quotes system, which communicates a famous anti war saying every time you die on the digital battlefield, and you do die a lot in the game so the words always have time to sink in...

The chest high wall games of wack a mole and close range engagements you typically find yourself in are inherently ridiculous, but something that is true about these portrayals is the deep psychological stuff that occurs in the back of your mind through play.

Fight or flight. Those instinctual, primal/animal like areas of your mind that govern responses to threats and general dangers that were extremely useful during our species evolutionary development as hunter gatherers, if a game is designed well enough it can take advantage of those responses and insert them into game-play loops which encourage positive reinforcement when taking down digital combatants... These are the things games tap into and the things military companies etc also tap into as part of training or recruitment programs especially in modern digital age armies where focus groups have to find new ways of getting young people interested in soldiering without conscription and a national crisis to absorb individuals into service positions. Anyone has the capacity to be violent and become a killer you need only the right training and psychological conditioning and in the army that is one part of basic. Popular video games and films provide you with that psychological training in a very subdued, consumer friendly fashion and that is through desensitisation. “Image training”

It is turned into a power fantasy, for military recruiters it is also an effective strategy for recruitment purposes.

“War is delightful to those who have not experienced it” Erasmus.

Violence in real life is brutal, random and horrifying even in a domestic sense to any sane or normal person with the capacity for human empathy (Though sometimes there are forms of desensitisation that override this), not even most soldiers who undergo psychological conditioning to be able to kill are immune to this trauma. Violence is not fair, violence is not graceful and more often than not it is also used irresponsibly in any situation where in it is absolutely necessary to be used, even then those situations are themselves questionable. Especially in present day conflicts waged overseas out of sight and mind of the general public for wealth, oil and resources.

I have experienced forms of domestic violence throughout my childhood such as being beaten by my parents and having animals ordered to attack me, I understand how awful it can be to live in absolute fear and experience excruciating pain and misery as a result of this so making a post like this I hope makes you think about this a bit more from that personal lens too.

Games and movies on their own dont cause violence that much is certain from studies no matter how vivid their depictions get, but they do desensitise you to its realities in strange and weird ways both mechanically, visually and also sometimes in the narrative. (Until we can someday reach the point where in we can perfectly simulate reality and violence there is no way in hell military companies are going to rely on it exclusively to train soldiers). But they can rely on the positive mental associations they bring to warfare.

HOW MASS EFFECT 2 PORTRAYS VIOLENCE.

MASS EFFECT is by no means a game that is used as a vessel to drive up real world military recruitment, there is no indication of official army endorsement since it is just a trilogy of science fiction video games after all. But it does include violence that tries its very best to make you the player think its wicked cool in addition to finding it fun if the game-play loop is effective enough. Which in ME2 it is especially effective and the marketing wanted to push that.

So how does MASS EFFECT 2 and to an extent MASS EFFECT 3 make its violence so fun and “Cool”... Ill break this down into a variety of factors starting with your enemies.

DEHUMANISATION OF COMBATANTS AND KNOWING YOUR ENEMY.

MASS EFFECT 2 takes players to the Terminus systems and other parts of the galaxy that do not fall under official council law, so naturally this means there is an seemingly over abundance of private military and mercenary organisations. But ME2 is not interested in what these things represent completely, more so it is interested in using their presence as a convenient means to provide the player with thousands of disposable henchman to shoot, stab, pull and blow up in a variety of fun and exciting ways!... (Those gamified ways) All the while giving you the excuse to not feel bad while doing so no matter how cruel you are in the application of your response to incoming fire.

In fact throughout the whole ME2 experience you probably kill more mercenaries comprised of Turians, Humans, Asari, Krogans, Vorcha and salarians, more so then you do the Reapers or Collectors who are supposed to be the primary antagonists of the series... Which it seems is pretty antithetical to the overall themes of uniting the galaxy to fight a common threat which threatens all life, perhaps you have already done the job for em in this regard. What you are seeing here is a form of precision engineered dehumanisation of combatants for purposes of providing a player with something to shoot and kill without much thought and sympathy... and the military also employs this tactic in real life to dehumanise other humans for soldiers to shoot and actually kill.

Make your enemies faceless, inhuman or “irredeemable” cannon fodder and the feelings you get for uncritically slaughtering them all are palpable, especially with such entertaining gameplay systems that make the whole endeavour that much more exciting. The same was true for Cerberus in ME3 effectively turning the whole organisation into faceless storm-troopers with filtered voices and intimidating armour again another form of enemy dehumanisation in addition they are all conveniently indoctrinated so thats another justification hooray!. More bad guys to shoot right?

You dont have to feel bad if there is nothing to feel bad about right? You are Commander Shepard! Or a soldier in the military you are right in all actions and decisions you make by virtue of the fact you fight for a cause like stopping the Reapers.

VIOLENCE AS AN ONLY MEANS TO A DESIRED END.

Despite MASS EFFECT’S status as an RPG experience, the games rarely if ever provide you with substantial opportunities to employ diplomatic solutions to various problems where in it would seem feasible that it can be at least attempted.

Most of the time you will be exhausting dialogue options on a screen and shooting faceless thugs behind chest high cover throughout the entire experience.

In the narratives themselves this refusal to resolve conflicts peacefully are actively supported by characters or hand waved as being frivolous by the plot and sometimes even Shepard himself. Kill or be killed rains supreme in again, But in real life that mindset is far from being realistic or preferable.

THE BADASS CHARACTER CLICHE.

Something that will severely age the MASS EFFECT 2 experience is its over reliance on making every single character a BADASS stereotype. Even beloved Mordin Solus falls victim to this strange fixation with violent attributes and histories being considered wicked cool bro! In combat Mordin will utter lines that hint to the fact that he very much enjoys the killing he is participating in.

“Killed that one!”

“Thought I was harmless did you?”

“Oooh headshot!”

“Here... Enjoy” (Plays during times he sets people on fire with his tech attacks)

He also lists at one disturbing point in the story, all the ways in which he has killed people. Which includes using lethal drugs and... farming equipment, thats funny right? Actually MASS EFFECT 2 seems to include a lot of moments like that in where people list off hilarious methods they have used to kill people.

Every character in one way or another has the capacity to kill and does kill, they kill quite a lot of people actually and in some cases this is celebrated with gleeful enthusiasm by the plot.

Even Shepard can participate in a little bit of casual BADASSERY no matter if you are renegade or paragon. Be that shooting through hostages, threatening Batarian thugs, shooting Konrad in the foot or generally acting like a ruthless prick all for the fun of it like when you trick a injured mercenary into thinking he is going to die from minor wounds. This is a stark contrast to ME1 which at least tried its best to codify violent or aggressive acts as morally questionable. You are the first Human spectre in that game after all a shining beacon to all humanity in the new frontiers of space, what you do in that story is emblematic of the attitudes the whole of humanity express going forward.

Jack is probably the most blatant example of this new approach to violence the series took for reasons I have already described in previous posts.

To be clear, I’m not saying MASS EFFECT 2'S inclusion of glorified fantasy violence is entirely a bad thing. I just think that if you are gonna include violence you best be a little more intelligent when it comes to its usage in mechanics and narrative. Because it can be a powerful thematic tool if used right, in some cases there are moments in ME2 wherein it does get used extremely well but those moments are also still few and far between.

We can do so much better.

[divorcedfiddleford]

i know this is random, but do you have any tips on writing ford and fiddleford? you do a really good job on their characterizations and even though i'm very familiar with their characters i always write people out of character when i'm writing, lol! thanks !!!!

ghhhgg i Kid but anyway im like super distracted so i just made a list of a bunch of common mistakes i see when people r writing themedit: i was so wrong i made such a long fucking post im sorry this was a Mistake (rip mobile users)

first things first everything in the journal was Fake

fiddleford:

“fiddleford is a poor precious cinnamon roll who is helpless and did nothing wrong uwu” fuck off he built all those robots and probably killed a bunch of people in the process he isnt some innocent sunflower he’s more like a rowdy dandelion

yes this applies even if you’re writing young fiddleford he was just more patient and less open with his life of crime because he didnt want to go to jail

his eyes are blue. theyre fucking blue. theyre fucking b

“he doesnt like swears/he’s soft-spoken” wrong he’s literally the only character to have sworn on-screen

“he started the society because he was traumatized by what he’d seen” no, where did you get that idea. he literally says he invented the gun because he was “haunted by the thoughts of what I’d done” >literally stating that it was guilt not fear that was bothering him. eventually yes he used it for erasing scary memories but that was not his initial intent

he’s not bald anymore

really any idea that fiddleford is pathetic is grossly ooc i can think of one situation in the show that he wasn’t able to get himself out of and thats because he was turned into a fucking arras

what is this southern belle bullshit… he chews tobacco and wrestles pigs please stop woobifying this force of nature

a banjo is not the same as a guitar. a banjo is not the same as a guitar. a banjo is not the same as a guitar.

if youre going to write accents don’t be obnoxious about it

EX: “How are y’all doin’ this fine evening?”NOT: “Hower y’all doien’ this fain evenin’?”you don’t have to use the mannerisms in every sentence and you don’t have to drop the g in every -ingphonetic spelling is a pain to read like at the most you should be using apostrophes not respelling words (“Stanferd” more like kill me now)

also make sure your mannerisms are geographically accurate he’s not from texas i never want to see him say “sugah” again

his accent isnt even that strong in the show …what……….

tip: fiddleford is salty as FUCK he has NO MERCY and holds onto grudges like a lifesaver in a storm

tip: he loves being around people and will talk to them about fucking anything such as his multiple cases of manslaughter but doesn’t usually open up about his insecurities unless prompted

further reading: 1 2 3 4

stanford:

“everything that happened to fiddleford is ford’s fault” did ?? you even watch the show??? fiddleford did all that shit himself ford had nothing to do with it

“ford was manipulating dipper and con-” im gonna stop you right there. ford loves his niece and nephew. he agreed to leave the kids alone because stan thought he was too dangerous to be around them. stan only let dipper hang out with ford after dd&md. ford loves dipper and mabel equally and never wanted them to split up or anything. bill fucking knew this hence why he threatened ford with killing them. he made the proposal to dipper about the apprenticeship because he genuinely thought that was the best thing for dipper. he was wrong but he didnt know that

in fact while we’re at it - ford literally always does stuff with the best of intentions he’s just dumb and unlucky as shit

deal with the devil? he thought the devil was his nerdy buddy not the devil. he just was so happy to have a friend who appreciated him he didnt realize he was the fucking devil

abandon your brother? he thought his brother had sabotaged his dreams and that the only person he’d ever trusted had betrayed him. he was wrong but it’s not like stan apologized or denied it. also what was he supposed to do? challenge his dad? in case you didn’t notice filbrick was a fucking terrible dad

building a doomsday device? too bad you’re literally being manipulated and abused by Lucifer The Triangle

“ford didn’t want to make amends with stan” um, no, like obviously he’s still mad and stuff but in dd&md he stops himself from getting super mad and asks stan if he wants to play with him and dipper

“ford wanted to kick stan out” ?? when did he say that??? the closest thing he said to that was that he wanted his house back and while i GUESS you could interpret that as he wanted it back to himself he follows it up directly with “this mystery shack junk is over forever” so its pretty obvious he means he wants the tourist trap that makes a mockery of his entire life’s purpose out of his house

“fords a grumpy guy” he is the opposite . he is overflowing with love and pride for those he holds dear. he might be a little gruff but who wouldnt be after living in hell for 30 years

remember that one asshole whose kink is “ciphord abuse”. dont be that guy. dont write kink shit

just. don’t make ford the villain. dont do it.

this may come as a surprise to you..but….he DOESNT have to bring up his intellect all the time! a shock i know

tip: ford is very excitable he loves getting up and doing things and going on adventures!! he loves interacting with the creatures around gravity falls like the gnomes and steve (see: every gotdamn episode)

he’s also very sympathetic; if someone he knows/cares about is struggling he does whatever he can to help them and comfort them (see: the last mabelcorn, damvtf)

he tends to think more big picture as opposed to worrying about individual details. the priority is always solving the larger problem unless a loved one’s life is ostensibly in danger in which case that takes priority (see: damvtf, wmg1, wmg3)

tip: ford is gay

tip: he’s also anti-social and wouldn’t be very forward with romantic notions like it would take him months before he even THINKS about kissing someone and even then its like a 10 hour loop of beach boys’ wouldn’t it be nice

tip: he is the king of infodumping and explains everything in excruciating detail

tip: he likes to have a good time! don’t be afraid to let him have fun!!

further reading: 1 2 3

for both:

enough of the angst. enough. enough

if you’re going to make them trans don’t milk the dysphoria

tip from my pal rudy @blue-dipper​ (im not trans)

same kinda goes for if youre doing romance dont overplay the internal/external homophobia i made that mistake so many times its just clunky and gets in the way of the characters

the whole idea of “the innocent one” vs “the sinful one” is garbage. abandon it. you will feel a weight lifted from your shoulders

realistically if it’s a reunion thing don’t make them hook up automatically this shit takes time

in general avoid stereotypes. some examples being “the hippie” or “the nerd” just write them like they act on the show its easier and more enjoyable for everyone involved

ALEX HIRSCH ≠ WORD OF GOD only the stuff in the show needs to be considered 100% canon you can pick and choose all the other stuff or ignore it entirely

in conclusion all fiction is subjective and writing someone “in character” all depends on how you perceive the character. these are my perceptions of the character and yeah i get really frustrated when people don’t agree because i believe mine are those that make the most sense and that good representation of neurodivergent and lgbta+ people is important also im petty and annoying. the most important thing is that you be consistent with your portrayals (unless your perception of the character is inconsistency in which case good luck)