#but thats not (completely) the point of this post

[ruckis--rookie]

Apologies is if this is coming out of nowhere or comes off too strongly but I came across this post in a YT short and this is a subject I'm very passionate on. I wanna tack onto this a little bit, especially in regards to the Mario movie.

I know Charles didn't want to voice in the movie because such a strenuous amount of lines would put a strain on his voice, which is completely understandable. At the same time I know for a fact there are dozens of impersonators that would have lined up in a heartbeat for the part.

I know that there were arguments made about why the originals wouldn't work in a movie setting. I have my arguments debunking quite a few of those. Namely:

It would be too grating to listen to over a long period of time 1. That's bull, if you're a real mario fan you'd shell out cash to watch it anyway regardless of the VA (case in point its box office sales despite the VA cast very clearly being name over talent). 2. I've heard beautiful comic dubs and songs by impersonators who do spot on impressions and I have yet to get tired of them.

The OG vocals wouldn't work well for scenes serious in nature. THATS. BULLSHIT!!! AND I HAVE THE PLAYLIST TO PROVE IT!

People underestimate what a true VA is capable of. I've heard sovern lines delivered beautifully. voices coming from Mario Mario and Luigi Mario of all characters. VAs are just as important to making a character come to life as anyone else, and not a lot of people understand just how much work goes into it. They truly are the unsung heroes of the world of animated fiction.

This movie took me aback because of how afraid I was they would mishandle it. Much to my pleasant surprise they balanced action with comedy very well. But as good as the movie was I would be lying if I said that the voices weren't a bit little jarring as someone who's wholly pretentious about voice acting and specifically voice acting.

Old news but I’m still salty about it, it really shows how shabbily voice actors are treated that they got fucking Chris Pratt to voice Mario in the Illumination Mario movie instead of Charles Martinet; who I would argue is basically to Mario as Mel Blanc is to Bugs Bunny.

And it’s not like he doesn’t have range, because you wanna know another one of his major voice acting roles? Paarthurnax from Skyrim.

Yes, the guy who said the line “What is better - to be born good, or to overcome your evil nature through great effort?” is also the voice of the funny wahoo man.

We really don’t appreciate voice actors enough…

[spiderziege]

can you tell us more about your characters please please please???

ooohh yes i will tho i honestly dont have that much actual story, im just. worldbuilding atm. heres a map! (i posted this before but i cleaned it up a bit and improved the dragon, it was looking kinda weird before lol)

still work in progress though! the dragon is asleep under the earth and has been there for a long long time, shaping the landscape. most people believe its some sort of legend but some do believe its real and might wake up on day and destroy everything

and here's the 6 main guys and also their locations in the world (roughly)

Eshiel & Luz both didnt grow up in the steppe/plains area they live in now; Eshiel grew up very far west deep in the forest pretty isolated from the rest of the land. Luz was born in the mountainrange along the dragons spine, but he spent most his childhood travelling with a circus so i dont think he'd really think of that as home anyway. those two are sort of runaway criminals (as in they pissed off one very powerful and very evil guy). also Eshiel isnt her real name she just changed it so its harder to find her

The town Valérie lives in is very historic, not technically a capital city but sort of a central point for travel and trade. Valérie grew up there and works as a farrier. i havent really decided in what way magic exists here but Val is definitely the one who'd be into it the most.

everything south from that city until you reach the ocean (basically along the dragons neck & shoulders) is completely abandoned and forbidden to enter except for once every couple years for a tournament where people try to cross that land on horseback. which is dangeorus cause theres monsters/sort of demonic forces down there but theres good prize money & glory involved so people do it anyway. all 6 of them end up taking part for various reasons

The last three all come from the snow kingdom in the northeast. Kokoro is a princess and Caliott & Cäcilia are both knights. Koko basically runs off on her own to search for her older brother who took part in that tournament a few years ago and never returned, Caliott & Cäcilia are sent after her to protect her

i think thats it? heres a pinterest board lol. thank you for asking about them :') hope this all makes sense kinda. talking about ocs is so scary why is it so scary

[mythalism]

I think part of why Blackwall has the option to get off easy is definitely down to his willingness to be submissive and contrite. I think it also helps that we find him at the tail end of his "redemption" rather than in the middle so he's already acknowledge his wrong doing and is resolved not to repeat the crime, he is technically already trying to atone for it when we meet him as he was going to join the wardens as a self-imposed "punishment" though I would still argue his behavior can be considered cowardly as he is running away from his crimes rather than taking responsibility. If he were unrepentant I think the writers would treat him differently, as would the fandom. I think also the amount of power and sway the inquisitor has over Blackwall plays into it. Blackwall by the time we meet him has no real agency over his fate and no power to do any harm or good on a wide scale without the inquisitor. No matter how hard he might try to, in his words "want to do good and be good" it's out of his hands. There is no point during the game prior to the inquisitor potentially redeeming him that he is a free man.

i think you are right about a lot of this and i especially like your use of "submissive" to describe what blackwall has that anders and solas do not. and while i agree that contriteness and repentance are important parts of blackwall's more positive narrative framing, i dont think that can be the smoking gun because solas is famously remorseful and apologetic, at least at high approval, but that does not buy him the same narrative goodwill that blackwall gets. anders isnt repentant at all but. you know thats just anders. anyway that is why i think you nailed it with the "submissive"ness being the key. solas is apologetic, repentant and contrite and expresses repeated remorse for what he is doing and has done, but he does not submit to your (the player) will. he is more powerful than you. you cannot convince him. the same is true for anders. both of them are unstoppable and are one of few things in thedas that are completely outside of the player's control. and when you look at video games as a power fantasy, as many people do (not me tho... stay safe out there) this inhibits the power fantasy and makes people uncomfortable. blackwall, on the other hand, submits to your will and judgement.

i think this is especially interesting in regards to solas's non-redemptive endings and epler's comments regarding the fantasy of being right. blackwall says "im sorry, i was wrong and you were right" but solas says "im sorry, but i am right". im too lazy to find it but epler cited this fantasy of "being right" verbatim in one of his AMA rants about how important it was to him that solas be fooled and defeated by the player. blackwall lets you be right, lets you decide what to do with him, returns agency to the player. solas and anders refuse.

whats weird then is that the writers wrote them like that on purpose, and then turned around and villainized them both later. i think to that end, @kraujuota's reply on my original post about the implicit bias we have towards state-sanctioned violence being permissible versus revolutionary violence being evil is probably our best bet at explaining that lol

[vypridae]

"he's going to watch something dumb, xanzen do you want some content??" "SOMEBODY SEDATE ME!!!!!"

[aroaceleovaldez]

What is the PR disaster in question that made Rick announce TSATS? I wasn’t active in the online fandom at that point

Of course! This was awhile ago so it figures people don't remember it/aren't familiar:

Basically a couple years back (2020) the fandom had some posts circulate discussing the ways different characters in the Riordanverse were written poorly or offensively. There was a masterpost that went around tumblr but the two major points people were particularly focusing on were Piper and Samirah (particularly because Piper had featured prominently again in Trials of Apollo recently and the third MCGA book had further emphasized and discussed Samirah being Muslim, since it was supposed to take place during Ramadan). Basically each had multiple posts breaking down the ways they were depicted incorrectly or offensively. The entire fandom for a little bit was VERY intensely discussing this (and it's around this time the "RR crit" tag got very popularized on tumblr - it did exist before, but suddenly was being used VERY frequently - cause it was that wide-spread - though the discussion took over basically every side of Riordaverse social media on different platforms). People really wanted Rick to respond to these criticisms, so he did!

He made two blog posts, one about Piper and one about Samirah. He has since deleted both so the links are to archived versions. The short version: he essentially tried to justify his poor research and double-down that he hadn't written them offensively, actually, people were just being mean to him. The fandom, of course, reacted poorly to this.

[Further elaborated events under the cut since this got a bit lengthy]

(Fun fact, this all happened within a month or so of the time i posted an open letter on aphobic tropes in the Riordanverse that Rick replied to, and then he immediately followed with announcing that Reyna was intended to be ace-coded [which cause a LOT of fandom debate] before Rick dipped for a couple of weeks, and then came back to post the blog posts in response to Piper and Sam stuff. So I like to jokingly refer to this as "The time I imploded the fandom/drove Rick off of twitter." Twas I that set the house ablaze.)

Rick fully left social media after this and the LT Musical social media manager became Rick's social media manager for the time being.

So this all happened June/July of 2020. Tower of Nero would end up being published in October of 2020 and a few months after that Rick would state that he was done with the series and wouldn't be writing any more series installments involving Percy, and also that he wouldn't be writing a Nico quest following Tower of Nero as it "wasn't his place to" and encouraged the community to write their own versions of Nico's story.

The community continued to circulate the tumblr posts and discuss the topics of Rick's offensive character depictions, and this is also where we see the dramatic shift in how the fandom depicts Piper in fanwork (though in most cases it is admittedly not an improvement 😬) because of all this discussion. This is also around the time when the fandom brought Viria under scrutiny claiming that she was whitewashing Piper as part of the same discussions, through the justification that she was drawing Annabeth as having tan skin (which she does canonically), and if Annabeth has tanner skin then Piper then that's whitewashing Piper? Except they were using completely separate images of not fully rendered Piper art versus Annabeth in dramatic lighting, so it's all very awkward and poor logic, and did actually get kind of racist. A lot of people were calling it "Tannabeth Blackchase" (yeah, i know) or similar and a common sentiment you'd see repeated is "Don't draw Annabeth as having darker skin than Piper, because that's offensive/racist/whitewashing." (Note: it was not phrased "don't draw Piper as having lighter skin than Annabeth" - we also won't get into certain offensive depictions of Native Americans, but I digress). But yeah, the Annabeth stuff in all that did not age well at all.

Anyways, in October of 2021 however Rick would announce that he was co-writing The Sun And The Star - with a lot of heavy emphasis on how Mark Oshiro works as a sensitivity reader, and some false advertising from the official social media that Mark Oshiro was the first time a non-Riordan author would be collaborating on the series (disregarding the ghostwriters completely). One of the big criticisms in the breaking down of issues in Rick's writing was his lack of ever seeking a sensitivity reader, and fans claiming that a sensitivity reader could solve a lot of the problems. This was basically Rick's "look! I totally listened!!!!" (though it did little to actually improve things, based on the book) and in TSATS as well Piper gets a large cameo at the end where the text very directly addresses a lot of points made in criticism of Rick's writing of her.

We also then of course got the CoTG trilogy later, explicitly stated to be for advertising purposes for the show.

So basically, short version: Rick came under scrutiny for a lot of offensive writing within the span of two months, made some bad blog posts doubling down about it, left social media. TOA ends. Rick says he wasn't going to continue the series/write what would become TSATS. Community celebrates the end of of the franchise but also continues to discuss Rick's poor writing and the blog posts at length. Rick suddenly announces TSATS and Mark Oshiro's involvement. Everybody gets distracted from being mad. Show announcement stuff also happens and the discussions peter out.

[diddlesnap]

this line always shocked me like i always forget peeta's popular because the only friend of his who's ever so much as named is delly. and they were really just friends when they were little kids.

[zevranunderstander]

number #1 tactic that people use to not sound as racist as they are when they talk to black people: 'uhh so you AMERICANS need to stop pretending everything is about YOU. why should i know this im not from the us :/' (= is talking about like. a phenomenally internationally well-known black artist)

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[thedrotter]

this idea to me in a vision ... ive become a shrimp as a consequence from sitting at my chair but anythign for a yuu drawing🔥🔥

[girlmetalsonic]

something that is like the baseline of amys entire character to me is that shes lonely. shes clingy and physically affectionate in a way none of her friends really are, shes always getting pushed aside and left behind. yeah, she helps out people she doesnt know because shes a nice person, but also, she sees part of herself in them. she wont leave someone else behind because she knows the feeling —and more importantly, hates the feeling. if she doesnt have somebody to stand by her and be there for her, then shes going to be that person for everybody else. something something her obsession with sonic is really just like a manifestation of that desire for closeness with someone, and she thinks that romance is the only way to get that. idk... this hedgehog can have so many abandonment issues.

[suntails]

the book is done :D setting up a shop for it next week but i’ll start posting/open preorders in september!!

[tired-demonspawn]

hey. so.

didnt plan on reading sonic the movie fanfiction of all things, right? right.

but alas the picture of outsider pov mean bean customer witnessing stone pining on main between movies 1 and 2 was so utterly VIVID in my mind i ended up looking some up.

because i mean. the setup is so obvious, it is practically begging to be written and then read by some fanatical idiot like myself. no way an author hasnt yet taken advantage of the premise.

ONLY TO FIND OUT NOBODY HAS

WHAT ARE YOU GUYS DOING?????

(left an essay in the tags, christ 💀)

[sea-buns]

Holy fuck, man. What a trip Fearne has been on, huh?

You tell her how grateful you are to have her in your life, you flatter her, you tell her you need her, that you have to do this together. You have her make a promise that has this woman, born of chaos and fey, agreeing through shaking hands and a trembling voice.

You make her deceive your friends; you make her follow where they cannot know; you make her help you into this contraption; you make her feed this thing into you despite the fact that you both have been warned extensively of the risks. You make her watch you crumble and splinter and shatter and fracture and burst and implode. You make her watch you die, over and over and over and over, for a minute in agonizing bullet time.

You make her do all these things, because when she tries to back out, when she tries to not be the one who let you do this—how could you do this—

you tell her, "YOU PROMISED."

Because if there's one thing you know, it's that the fey do not break a promise.

[sasukeless]

back to complaining about translations but i just again came across an old post that basically was analyzing sasuke calling naruto his one and only and saying it was him being sarcastic/not truthful because he was throwing naruto’s previous words at him in this panel

and im just… this panel is wrong. the speech bubble and naruto’s thoughts are flipped. naruto did not call sasuke his one and only here, he was remembering sasuke calling Him his closest friend.

anyway it’s a tricky panel because it’s in many pages when you read the manga. like i’m not free of sin because i remember i have posted too when i couldn’t find one with the correct placement. (also i feel like naruto saying there’s no way he’d able to leave sasuke alone holds more meaning than i can’t let that happen but whatever Whatever details) but anyway this is also an scene you can watch the anime clip and see what is naruto saying. but my point is that One simple misplacement in the translation can literally lead to people misinterpreting something completely different and in this case denying sasuke’s feelings and characterization. and it’s just well. sad

[wizardsix]

I can't remember who said this but there was this one dev who said that when making romanceable characters they have to be attractive in some way (personality, looks, not too morally fucked up etc). and since I read that, the statement hasn't left my mind and I'm very aware now of whenever outside influence and modern discourse get to me or other writers. like just yesterday I found myself rewriting a scene to be more "comfortable" to witness, even though the point was to be emotionally charged and face a difficult topic the character had been actively lying about. but some things can't be glossed over. sometimes it's good when media grabs you by the shoulders and makes you face horrible shit. it's good when media makes you uncomfortable even if it's coming from a ~romanceable companion~. that means it's working. if you remain comfortable forever you learn nothing.

I bring this up bc the veilguard companions are the perfect example and victims of the "romanceable characters need to be attractive" mindset. they don't have ugly sides, they don't fight with each other--and I mean really fight--they don't have controversial opinions or do problematic things. they don't ever question your authority over their lives and why you're the guy in charge. they are nice and perfect and their problems aren't really that serious and can be fixed by simply having a therapy session w rook (bc being possessed or gaining new magic isn't a big deal in a world where previously such events are Very distressing and hard to control). they are further proof that trying too hard to make something attractive has the complete opposite effect if your brain isn't the size of a pebble.

it's overall very frustrating that big game developers continue to be so spineless and I'm not giving anyone a pass for shallow writing, especially from a franchise that is known to have complex characters. none of this is impressive after the first three dragon age games, which were well loved and dissected and debated for years after their release. that isn't to say these games don't have kind characters, having that balance is why I personally like dark fantasy and liked what the dragon age games offered (whenever the writing was good..). it's not dark for the sake of being dark (see grimdark), there's a reason why these things are happening, and in this world no one is completely innocent even if they have good intentions. most people like when their characters aren't always kind or agreeable, bc it's extremely rewarding to finally find that middle ground (of course I have to bring up larian, who made bg3 and proved just how much people appreciate flawed characters, see astarion). conflict is the driving force of a story, no matter what it is. even the most sickeningly sweet cozy slice of life story will have some kind of conflict. it's unavoidable. that's life. taking that away is setting yourself up for failure and all that remains is a boring story full of boring people. no one cares about characters who have their lives together.

(the post is technically over but I wanted to put some final thoughts under the cut bc this got longer than I meant)

I want to go back to the statement real quick... like i do agree, it's true as writers we'll subconsciously (or consciously if you're insecure) try to make our characters appealing, but this is the common trap writers fall into by giving a shit about what others think and want from Their work (which btw I fully believe in writing what you want even if it's "bad" because something with genuine soul will never be as bad as soulless cashgrabs). romanceable characters can and should be as flawed as you'd make any other character, bc trust me there's an audience for everything. even a random npc with two lines will be attractive to someone.

the pressure of an imaginary audience is what pushes writers into a corner and prevents writers from writing and exploring what They want. it's the writer's story first, not the audience's. I think the romanceable companion trap can be easily avoided if writers just 1) grow a bit of a backbone and 2) ask themselves if this is even a necessary or insightful mechanic that will help develop a character further. ask themselves if this character even has the capacity to handle a romantic relationship bc everything else is subjective and it's impossible to appeal to everyone (which apparently this is a controversial take). I won't sit here and pretend that I don't appreciate a good romance, but sometimes all someone really needs is a friend.

obsidian is a good example of self aware devs. they tried to do romance for pillars of eternity 2 bc of fan demand, and it didn't work very well. now for avowed, they didn't explore romance bc they know it's not their strong suit and don't feel it's necessary for this story, instead that time and effort went to developing the characters in other meaningful ways. I have nothing but respect for such a decision bc they know what they want from their story instead of lying and trying to be everything at once. less is more as they say.

[alukaforyou]

hello! I have been following you for years now, and just wanted to say that I'm really glad that your tags under reblogs went from depression and no plans for long life to becoming a tattoo artist and looking forward to living more. all while being faithful to pink. I hope that many many good things come your way from now on!

also, I really like your art. both lineart and coloring is very beautiful)

aaa tysm 💗 omg i was JUST thinking abt this recently!!! like im so glad i didnt kms during hs - college LMAO cuz now i can motorboat sukunas fat boobs in 2025 life is beautiful 👍🏻