#dragon age doesn’t have canon ages for a large majority of characters so if you’re ever wondering how old i personally think they are

[docktowndame]

you know all respect to people who look at Fenris and think he’s rather young at the beginning of the game but i think he’s pushing thirty at the start of it. that man is old. to me. look at that impossible five o clock shadow he’s got going on and tell me you don’t agree with me that hes 28. i am correct

[dreadfutures]

aight let‘s talk ao3 tags again

the very nice tag wrangler I’ll be quoting from has given me permission to share their kind and thorough responses (all bolding/emphasis is mine) without identifying information. and we very nicely go through some of my own tags from my long fic Dead Pasts, Dread Futures. Many, many thanks to this wrangler for explaining so much to me.

Anyway. I present these discussions as a peacable offer of: these are many writers’ concerns, and they are valuable, and worth considering. don’t dismiss concerns about the tag limit off hand, and don’t insist that edge cases don’t matter.

tldr; at the moment, after all this discussion and back and forths and bullying, I still believe that having 75 tags, period, as the limit across ALLCharacters/Relationships/Fandoms/Additional Tags penalizes longfics. Period. If it were even a limit of 100 tags, or broken down by Tag Type, it would be a little more forgiving. For advertising and for content filtering purposes, it only helps writers and fic visibilty to be specific and thorough in tags. A limit like this just so clearly has the potential to negatively affect large fandom/large ensemble/long fics.

It feels like this decision is being very broadly based on a "for the majority" mindset, which has never been what AO3 is about, without actually physically looking at the kinds of fics it will affect. The tag system on AO3 has been able to give fic filtering and reader-judgement a nuance that no other platform has accomplished, and longfics and large ensemble fics still, I think, depend on that as both a courtesy and necessity. I saw the rough math someone did and know that almost all fics currently on AO3 are <25k or something like that, and sure, for the average oneshot, or for even a fic <100k, a tag limit that's very strict across all tag categories probably won't be felt at all. But it's clearly something that people who write certain types of fics, and take them very seriously, will feel. Like I genuinely don't want to have a million tags. I want to tag relevant content that allows potential readers to filter & include & exclude my fic as they so choose, but also, if it does show up in their search, I want to give them the information they want to be able to decide if they want to read my fic or not. I don't want to have to put all my content warnings into a giant summary, or into a giant author's note that grows and grows. The tags have been a very helpful way of accomplishing those. Being able to cut down on parallel/synned tags is great, but it still seems like longfics that deal with multiple fandom entries, large casts, and require content warnings will butt up against that limit very quickly.

tag limit discussions:

- long fic writers adding tags as they go

- writers of franchises with many installments and ensemble casts

- writers with extensive content warnings

- use of tags to clarify a filtered tag

- use of tags to demonstrate how content is handled

off the bat - stop being jerks

look, I know objectively fics don’t need to be tagged at all. I lived in the wild west, too, when “lemon” meant anything from the merest mention of arousal to an explicit vanilla sex scene to all out dead dove craziness. a large part of me still is of the opinion that readers should just read shit, and if they decide they don’t like it, just dip. but that’s not what we’re about here. tagging is a kindness that we voluntarily undertake, and it’s also a form of advertising.

tags are useful for their specificity, for filtering and exclusion purposes

(that’s one of the cruxes of the arguments both pro-shippers and antis make: you can filter things! But you can only filter things if they’re tagged.)

I also understand that a few asshole writers have ruined this for all of us by purposefully adding so many tags it slows down the site and makes pages fail to load and hides other fics because the tags take up 10 pages. i also am frustrated with kinkmemers who just have prompt fill fic dumping grounds that span multiple unrelated fandoms and are impossible to navigate.

...the answer is not to suggest to writers that we put all our content warnings and pairings and etc. in our summaries, or our A/Ns, or to insert a first chapter that is a placeholder summary/tags page/world state. tags are useful for their specificity, for filtering and exclusion purposes.

I also have been dealing with people being murderously angry, and super self-righteous and targeting and mean about my own tags, and tags in general. people who are anti-tag are being giant fucking dicks about it. like get over yourselves and let’s just talk about a website function lol. tags are useful for their specificity, for filtering and exclusion purposes.

THE ANSWER IS NOT TO GET RID OF TAGS.

Alright, so now that we’ve gotten that flippin’ straw argument aside.

The next thing anyone has been doing is going to my page and critiquing my tags. Let’s address redundant tags.

(the wrangler has done this nicely! no ridicule necessary!)

using my fic as an example:

If you tag your fic Female Lavellan/Solas (only), it will show up in the following searches: Inqusitor/Solas, Female Inquisitor/Solas, Lavellan/Solas, Female Lavellan/Solas.  If you tag your fic Inquisitor/Solas (only), it will show up only in the Inquisitor/Solas search and in none of the others.  If you tag with the most specific version, it will show up in the more general versions, but not the other way around. So there's no real reason to tag with the more general tags.

Though I will point out that if you don't use the canonical tag      and tag your character or relationship with a custom name it will      be synned to the nongendered version, because at some point the DA      wranglers decided that they didn't want to make gender      assumptions.  So "Annabelle Lavellan" will be synned to "Lavellan      (Dragon Age)" rather than "Female Lavellan (Dragon Age)", and      someone searching for works with specifically "Female Lavellan"      won't see it.

Response: In the fanfic writers server I'm in, we've talked about how tags work and are supposed to work extensively in the past.  There's just always been a lot of confusion, which I think has been added to when people go and try to double-check for themselves and find instances where this treeing/synning is broken. Someone put out this guide (also here) for AO3 meta text this year, which has been referred to by multiple people in the server, and it says:

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book? In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags. If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

Which I believe is in direct contradiction to guidance to use the most specific tags, so that's definitely one source of confusion. The most recent ao3 meta text guide (https://archiveofourown.org/wrangling_guidelines/2 I think this one) doesn't present itself in a way that makes this clear for writers tagging their own works. The way authors usually go about tagging things (and what's in the FAQ) is to start typing into one of the boxes and look for what populates the drop down, which doesn't lend itself to knowing that there are trees, or knowing what tags are interrelated (it seems like a whole grab bag of tags get suggested, some in-fandom and some outside of fandom, some canon/parent/meta and some children/random freeform, in just about any field you start typing in).

I'm not sure what can really be done about this. Many of us have turned to ao3-comment-of-the-day and their posts about using Tags, and various sources on google, and have clearly come up with a whole load of conflicting advice.

Fundamentally, finding parent/meta tags for a tag as you’re tagging a fic is NOT clear to writers. The fact that a nested and a meta tag can both be suggested one after the other when filling in tags largely contributes to redundant tags.

Writing for Multiple Fandom Entries

Here’s what a tag wrangler had to say about my fandoms:

As with the relationship tree, you can look at the fandom tree  here:      https://archiveofourown.org/tags/Dragon%20Age%20-%20All%20Media%20Types  and see how the fandom tags are related. Going back to your story Rogasha'ghi'lan as an example, it's tagged with Dragon Age: Inquisition, Dragon Age (Video Games), Dragon Age - All Media Types, Dragon Age: The Last Court.  But as I said, you only need to tag with the lowest relevant level(s) on the tree in order for your fic to show up under the higher levels.  So if you tag with      Dragon Age: Inquisition and Dragon Age: The Last Court, it will show up not just under those categories, but also under Dragon Age (Video Games) and Dragon Age - All Media Types.  And of course because you've tagged with the specific, if someone searches under, say, Dragon Age (Video Games), but doesn't want Inquisition or Last Court fic, they can use the exclude filter to show only the earlier games.

(So that's two more tags you can remove with no effect on searchability!)

In my (but not only my) own case, I am indeed writing for Origins, DA2, Inquisition, and Last Court extensively within the same fic, so I should be tagging for all of those, specifically, still. In order to make sure my fic is seen by the correct fans, I need multiple specific tags.

Longfic Tag Bloat (adding tags as you write a fic)

And like many other longfic writers, even if I narrow down my character tags only to those with dedicated character arcs longer than 5 chapters, I still have Loads & Loads of Characters (including Dalish from the Chargers!).

A lot of longfic writers I know add characters, relationships, and content warnings as they go along.

At 170 chapters/580k words, Dead Pasts had a ton of important relationships (for example, like Vivienne & Lavellan), and as a story it's nowhere near done. I found myself planning an arc from 171 onward that would introduce a very important relationship (Felassan & Lavellan). This is how longfics end up with so many, many, many character tags and relationship tags, which is another major criticism people seem to have about "people who abuse tags."

A solution that people propose online is "split your fic." Which is actually what I ended up doing...but the old relationships and fandoms from DPDF still apply to Rogasha'ghi'lan, so Rogasha'ghi'lan will have the same number and more tags than DPDF.

If I hadn't split the fic, I would have just kept adding tags to Dead Pasts...and still had the same problem of continually adding tags. They're not superfluous tags: someone who wants to see a plot that is deeply influenced by Vivienne & Lavellan will find that in my fic; someone who is looking to see a major Felassan & Lavellan friendship grow and drive plot will also find that in my fic.

My fic is long; there are other fics that are longer, or are going to be longer, with casts that are just as large or larger, with many relationships, and that's not even talking about content warnings.

Polycule / Relationship Tags

"Tagging a polycule like Iron Bull/Dorian/Lavellan requires four      tags: Bull/Dorian/Lavellan, Bull/Dorian, Bull/Lavellan,      Lavellan/Dorian"

This assumes that people who like Lavellan/Dorian will want to read Iron Bull/Dorian/Lavellan, which is often not the case.  If your story Is Iron Bull/Dorian/Lavellan, tag it that way!  It doesn't make any sense to me to tag with the pairs as well unless the story would be of interest to people who read for that pair, or unless that pair relationship is a big step in the story (like, if you have established Lavellan/Dorian, and then they bring in Bull, you might tag for both that pair and the trio). I mean, you can tag how you like, there's no requirement that tags correspond to content. But for me, personally, if I search on Dagna/Lace Harding (I am weak for dwarf women!) I do not want to get a Dagna/Lace Harding/Sera fic.

My personal tastes don't include poly fics, but several writers I know who write poly fics are adamant that: tons of readers will not know of the possibility of the poly fic until it shows up in a search result, and the individual relationships often are significant to the fics, especially in fics that are not oneshots. For example, a great number of "fav fics" are stumbled-across! We aren't interested in the Sera/Dagna/Lace polycule ourselves, but someone might not have considered it, found it, and said, "Hey! That's my new favorite." But if polycules are segregated and only searchable by the polycule itself, alas, what's the option for visibility at all if not tagging it as Lace/Dagna in addition?

Additional Tags

Knowing when something is a "character" and when something is "additional"

Knowing that "Warrior Lavellan" (or the [Name] Mahariel) would be more useful in an Additional Tag vs. a Character Tag is also something I'm not sure how we're supposed to know? Like, I'm glad to know it now, but it's definitely not at all obvious without you telling me why it would be more useful in Additional vs in Character. Especially when to me: Warrior Lavellan is a character, and the fact that it populated the Character tag for me says that it's a Character. Because like I said, the guidance has been: start typing, and if it appears in the drop down, use it. Or, for example, my friend has the Well of Sorrows personified as a Character. Like an actual character. Does that have to go under Additional Tags, or as a Character? How do I know?

Additional tags as tone/content indicators

A lot of writers / readers have approached the Additional Tags as a surface-level overview of understanding how an author is approaching many topics concerned in the fic. Like, Vivienne is a character in my fic, but specifically I am Vivienne-positive, which I feel is important to denote because she's important to my fic, and she's a divisive character. Mood/tone/theme indicators like "Pro-Vivienne" or "we are Vivienne-positive in this house" (or like Male-Female Friendship, or "Expansive Lore" vs "Lore - Freeform" which denote different things to me) in tags (which in the comments section on the ao3 blog post get derided as "chatty tags") are still important to me, though they're useless or far less likely to be used for filtering. (I had the thesis of the conflict of my fic: “empathy is the enemy of free will” “but hope is a choice” as “chatty tags,” among some that were more mundane but important: “sera shows up late in fic”)

More seriously, there are fics that have content warning tags for filtering purposes but also clarify those content warnings to give context to readers and allow them to make a decision whether or not the content actually fits their preferences, ie, one that specifies domestic abuse as a tag (which would be in the Additional Tags) for filtering purposes but also specifies "domestic abuse not present in x relationship" (which would also be in the Additional Tags, but is useless for filtering purposes, but is immensely helpful and demonstrably used by readers to decide if they're going to even bother reading the author's note of that fic).

People are also nervous that not being able to thoroughly tag content warnings is going to end up with unhappy readers amid all the purity culture flaming that's going on lately.

Like, personally I err on the side of "suck it up, reader, and just read and find out," for a lot of things (not talking about content warnings, but talking about mood/tone additional tags), but also, given that there is already a venue here to let readers know what they're in for...taking that away sucks.

I hate a giant fic summary as much as people hate 10 pages of tags, but at least one can hide tags in their preferences, and likewise the thought of starting a fic up front with a giant author's note that gets continually updated with content warnings also isn't super appealing. Leading with a giant author's note that lays out: this is my world state and this is my character's spec and this is my character's background so you know how I'm going to approach this and these are all of the content warnings for the fic as a whole, just feels like getting into "My Immortal" territory. There's definitely a balance to be had between the art of writing a summary, what to include in an author's note, and what to include in tags, but this still seems like it's going to be fairly limiting for writers in these large franchises, especially for longfics that span a lot of topics.

It feels like this decision is being very broadly based on a "for the majority" mindset, which has never been what AO3 is about, without actually physically looking at the kinds of fics it will affect. The tag system on AO3 has been able to give fic filtering and reader-judgement a nuance that no other platform has accomplished, and longfics and large ensemble fics still, I think, depend on that as both a courtesy and necessity. I saw the rough math someone did and know that almost all fics currently on AO3 are <25k or something like that, and sure, for the average oneshot, or for even a fic <100k, a tag limit that's very strict across all tag categories probably won't be felt at all. But it's clearly something that people who write certain types of fics, and take them very seriously, will feel.

Like I genuinely don't want to have a million tags. I want to tag relevant content that allows potential readers to filter & include & exclude my fic as they so choose, but also, if it does show up in their search, I want to give them the information they want to be able to decide if they want to read my fic or not. I don't want to have to put all my content warnings into a giant summary, or into a giant author's note that grows and grows. The tags have been a very helpful way of accomplishing those. Being able to cut down on parallel/synned tags is great, but it still seems like longfics that deal with multiple fandom entries, large casts, and require content warnings will butt up against that limit very quickly.

[crackinglamb]

Hi! I hope it isn’t too much trouble, but I’d like to ask how or why you decided to write Twist? And then also how and why you decided to write Wicked Games a little bit after. Did you wanna explore different relationships with characters when having a different personality in your ‘Modern Girl’ or different goals, because Carly talked Solas down and guided him into a different path, while Imogen seems to want him to go through with his plans with her help and a large dose of “what the heck is the canon timeline?” I love both of the stories, I might reread them again to help with the Modern Girl in Thedas withdrawals.

I ask because I’ve been reading “Modern Girl/Person in Thedas” stories and really wanna try my hand at them, I just feel like I am only writing it for little one shot type interactions between characters, and don’t really know why I’d actually have a “Modern Girl” be sent to Thedas, how and why, and what they would do, If your willing to give insight I’d love to hear it. I just hope I’m not a bother.

Oh no, you're not a bother at all! Thank you so much for this ask!! I love to talk about how I fell down this rabbit hole! I hope you're ready for a dissertation, because this got really long. 💕💕💕

I came to Dragon Age backwards. I didn't know anything about the series other than a lot of people liked it and had very strong opinions about it. Then a fellow writer began to write a Varric/Hawke story and I read it because I wanted to support her return to posting.

And I fell in love with a world I'd never seen.

I realized that, due to its age, I actually did know more about the games than I thought I did. I knew the ending already, and who this bald dude was that had the fandom so divided. A classic villain, right? Wrong. Some people think he's just terrible and some people defend him to the death. Some people think he's terrible but don't let that stop them from defending him to the death. So what was the real deal?

I did some research (because at that point I was writing my own Varric/Hawke fic and I'll still die on that ship hill. Anyways...moving on). I discovered that everything I thought I knew about Solas was skewed by fandom interpretation. Which is valid. I mean, all our opinions end up that way when it comes to fandom, right? All interpretation is subjective. But the fact remains that Solas interprets the world around him through the eyes of the Inquisitor and how they treat him. And that is player based. Low approval proves his opinion that this is a world not fit to live it. High approval shows him that his decision is going to destroy something beautiful, but he still feels he needs to do it.

I got to thinking about what it would take to stop him. Through the course of watching his romance, reading a lot of meta and lore posts and listening to his companion banter, I had a headcannon emerge: Solas could only be stopped by someone who knew what he was doing from the start.

But that's not gonna happen in canon. He already allegedly killed the only person who knew. (Seriously, #saveFelassan) So who else would make him rethink it?

The answer that came to me was a person he needed, so he couldn't risk eliminating them. The Inquisitor who bears his mark. I then went a step further, and decided that someone who knew all his secrets and plans, and who could possibly help him shift them, would have to be from our world. Enter the Modern Girl in Thedas, because I love a good romance, and I wanted a happy ending to this otherwise tragic love story.

And Carly was born. A modern gamer girl, sucked through to a fictional world because the universe is vast and unknowable (and certain wisps of certain Evanuris like to nudge). I'd read a bunch of fic by the time I started writing Twist, including some self-insert types. None of them told him flat out from the beginning. So I determined that she would. She'd tell him what she knew and try to persuade him that his plans were awful and that if he wanted to claim he wasn't a monster, then he'd have to find another way.

I knew from the start that I wanted her to save the orb, because losing that is what tips the scales for Solas. Losing that means he has to find power from somewhere else and sets him on his path of death. Saving the orb meant his plans, while derailed, weren't ruined. Yes, I know in Trespasser he'll tell the Inquisitor that the world would have burned in raw chaos while he rewrote it, but considering the nature of magic and reality on Thedas, I think that's more due to human reaction than any actual destruction simply based on the lifting of the Veil. Demons are real and represent emotion. Humans look down on elves and do everything they possibly can to oppress them. Like the colonizers they are. Of course they'd react to an elven demigod rewriting the world to give his people back their strength poorly.

And then covid hit. Twist rapidly became a beacon of fluffy stability to my readers. It was an escape from the literal dumpster fire that my country was, so I was highly motivated to keep writing it. To keep it light and happy and epic in a way that felt satisfying to everyone. So that's what I did.

But...

I still hadn't played Inquisition when I started (and I still need to play the other two). I was missing so much of the nuance of the world. In the end, Twist wasn't the story I really wanted to tell. I mean, I'm proud of it, and I love it. I am deeply humbled and gratified to know how many people look at Carly with love and admiration. I love hearing how many times a reader has opened it up and binged it. That kind of feedback is the lifeblood of a writer, as I always say.

Wicked Game is the story I wanted to write. A little grittier, a little more plausible in keeping with the lore. Having Imogen be human gave her the power to call out other humans on their bigotry. And to show Solas that he's not the only one who can see how damaged the world is and want to fix it. Having her be a scientist gives me a chance to explore how magic works, and what the Veil really is after a year of immersing myself in this world. Yeeting canon so thoroughly came from thinking about the major plot points and what could be changed about them from the POV of a character who knows how this is all 'supposed' to happen...and the resultant fallout from her decisions.

Imogen can see the forest for the trees. Her outsider perspective gives her all sorts of insights on her companions and the world at large. The fact that she falls ass over teakettle for the Dread Wolf against her own better judgment is just a good trope. Having him do the same is my clapback against his racially locked romance. (Here's where I'm gonna throw out my own extra kudos to writers who also portray Solas as bisexual, because dammit, he should be. Immortal beings would not bend to any heteronormative conventions.)

Carly and Imogen have rather similar motivations behind them: they want to save the world and not lose him. They often go about it in similar ways too. I guess the biggest difference between them is that now I know what I'm doing and I have more confidence in my storytelling ability. Neither of them is a self-insert. Plenty of people do that and that's totally valid. I'm just not really a fan of it myself. These two characters are no different to me than any other OC starting out at the beginning of the game. They just have slightly more backstory than the average Inquisitor.

Now, in regards to you writing your own and feeling like all you have are oneshot ideas. Go for it. Doesn't matter if they're oneshots. A story doesn't have to be hundreds of thousands of words to be awesome or complete. Write what YOU want to read. The best reason to make a character be a certain way, like being MCIT, is because you want them to be. No other justification is necessary. The only rules in storytelling are grammar ones, and even those are iffy at best. The only courtesy if you decide to go ahead and share it is don't plagiarize and tag it properly. That's it. The sky's the limit and up for grabs. Go forth and be bold.

[zutaralesbian]

☕️ how legend of korra handled the characterization of the Gaang (probably the biggest gripe I have w the show imo)

Oooh yeah I could rant about this forever lmao. The only member of the Gaang that I think wasn’t disrespected in some way during LoK was Zuko. He wasn’t portrayed as a bad parent, despite being old he was still portrayed as 'badass' and was given a cool pet dragon. And while his role wasn't huge he had some sort of plot relevance in his own right. My only BIG gripe with Zuko's LoK portrayal is the fact that he wasn’t allowed to interact with Katara or Toph, despite the fact that the three of them ended up as friends at the end of atla and they were all still alive.

The rest of them however....

Aang:

You will never be able to convince me that Aang, someone who was famously known in the original series to have friends from all four nations, would neglect two of his children simply because they weren't airbenders lmao. Like, that's the most ooc thing I've ever heard and is in direct contrast to what we know about Aang as a character. It gives me major Luke Skywalker in the sequel trilogy vibes aka BAD. I could have bought him having some sort of special relationship with Tenzin due to the fact that they were probably the last two airbenders in existence during the time Tenzin was growing up but not to the point where his other two children felt neglected (which they canonically did). Also just because Kya and Bumi aren't technically airbenders doesn't mean they aren't connected to the Air Nomads by blood. Why wouldn't Aang want to teach all three of his kids about his nearly extinct culture? It makes no sense.

Katara:

Katara, while alive in LoK, was nearly unrecognizable from the character we knew in atla. Gone was the passionate girl who always wanted to fight for a better world, replaced with a character whose only role was to be a sad, mourning widow. And that really was her only role. Unlike the other members of the Gaang she gets no statue and no sign of leaving any sort of legacy. She's just the Avatar's widow. Which is such an insult to the Katara in atla who challenged the patriarchy of the northern Water Tribe and won. Many more people have better talked about the mistreatment of Katara's character in LoK so I'll stop here.

Toph:

Toph was disappointing because out of the three Gaang members who were still alive in LoK (Toph, Zuko, and Katara) she was the one who seemed the most like...well, herself lol. At least on the outside. LoK! Toph was pretty much exactly how I would have imagined Toph as an old woman in terms of mannerisms and personality. The problem was her whole backstory. You're telling me that Toph, who grew up with emotionally abusive parents, would abandon her own daughter? And that Toph, whose whole story in atla was largely about her finding a found family in the gaang would want to fuck off and live in a swamp alone in her old age? Again, it just directly contradicts what we knew of her original character. I get that writers want to show their characters as flawed but....it has to be flaws that actually makes sense and doesn't totally ruin their characters.

Sokka:

Dead and barely even mentioned throughout the run of LoK. I love how they did the whole mourning widow thing with Katara but barely let her remember that her BROTHER was dead too.

Suki:

I wouldn't be surprised if Bryke didn't even remember she existed while making lok.

-

Other than the individual problems, I think what makes me most sad about the portrayal of the Gaang in LoK is the lack of acknowledgement of how much they meant to each other. (Which is hilighted by the fact that Katara, Zuko, and Toph didn't have a single scene together). Like in ATLA, this was a group of traumatized kids who formed a found family dynamic and saved the world together. You can't tell me that they didn't all stay friends for the rest of their lives. And yet the only acknowledgement we get of that is that Katara/Aang were married and that Aang/Zuko were lifelong friends who built Republic City together. I get that LoK was meant to be the story of Korra but they still could have done better respecting the legacy of the original series and characters.

Thanks for the ask! :)

[natsubeatsrock]

The Rewrite of Fairy Tail: Part 25 (Ultear)

Was Last Ages a good idea?

Part of me wants to say that the answer is yes considering Opening 16 having my favorite visuals of any Fairy Tail opening. The clock twitch at the start is one of my personal favorite aspects of the opening and it wouldn't be there if Last Ages didn't happen.

Of course, pedantic issues like that aren't enough to blind me to the weight of what I'm advocating. Ultear is one of my favorite characters in the series. I wouldn't suggest essentially writing out one of my favorites if it didn't need to happen. 

But that's just it. Did it need to happen? (Don’t worry, we’ll get to talk about Ultear as a character.)

A good place to start is its place in the Grand Magic Games arc. The reason it needed to happen, as the story goes, is that multiple people need to be saved from situations and the difference of one minute, while also remembering what happened in the alternate minute, was enough to save the lives of multiple people. Most notably, Lucy was able to avoid being killed and Gray wasn't impaled by multiple dragons. It's framed as a sacrifice that caused other people to live.

At the risk of sounding callous, I'm not sure this was really all that much of a concern. For all the people who did get affected by the spell Last Ages, there is one important person who wasn't: Natsu. As sad as it might be to consider our favorite characters dying it wasn't like their actions stopped the Eclipse Gate even after Last Ages. Lucy knew how to stop the Gate, but she didn't destroy it. Neither did Gray, Juvia, Lyon, Meredy, Baccus, Romeo, Macao, Wakaba, Cobra, Gajeel, Wendy, Laxus, or anyone else whose name isn't Natsu Dragneel. It would have been tragic, but the result would have been similar. (An interesting "what if" scenario I may or may not consider.)

And consider the scale of the event in the arc. The entire world was set back by one minute. It's described as innocuous enough that it was barely noticed by most people. Of course, this is juxtaposed with how important it meant to the actual people at the moment. However, consider what that means for the majority of people in the universe. Ultear could have done nothing and it would have as much of an effect for the people within the series universe.

This is, of course, not to say that Ultear's sacrifice didn't matter past Grand Magic Games. This is to say that the idea that this sacrifice changed a lot isn't as true as Mashima would have us believe and that there might not have been much of a need to have Ultear get basically written out of the series.

After using Last Ages, Ultear becomes a part of the time stream, showing up at times when it gets messed up. (At least, that's the explanation I'm going with.) She makes two as her younger self in this form. We obviously need to talk about (read: you're going to read my interpretation of) these moments. But, I want to start with the second moment first and you'll see why.

The second meeting was Ultear's appearance during Wendy and Chelia's fight with DiMaria. Now, there are issues with their interaction in regards to the Third Origin, but that's for other reasons. This wouldn't necessarily be impossible if Last Ages didn't happen. After all, she's doing this in conjunction with the rest of Crime Sorciere. The only reason this comes off as shocking is exactly what she went through Last Ages. As long as they show up and Ultear remains a member, there's no reason for she shouldn't be in the fight. Heck, we may have gotten interactions between her and Gray.

And, with that totally non-bitter transition (I'm actually okay with that), let's talk about the meeting between Gray and Ultear during the Sun Village arc. This is part of a trend wherein Ultear, either implicitly or explicitly, serves as a reminder for the fact that you shouldn't sacrifice your life to save other people, even if you love them. Her sacrifice reminds Gray that he ought to continue living on for other people.

But, and I again recognize this does sound callous, that's stupid.

I mean, it's exactly the kind of message he ought to keep with him, especially in those moments. But, I'm not sure that this is a point that ought to be beating in the ground as much as it was, especially to the point it was in the way it was. In Gray's specific context, it makes symbolic sense that he is saved by her. But, shouldn't Gray already know that from as far back after Galuna Island?

It could be argued that Gray needs to have these lessons reinforced multiple times through his journey as they clearly haven’t sunken in. To a degree, I understand that as a realistic portrayal of depression. But, what happened to “I will seal your darkness away”? Isn’t it possible to have him remember that instead of Ultear sacrificing herself?

And that gets to another thing. What does this mean for Ultear's character? Much of the reason that she's willing to do this at all is that she believes that she is a terrible person at heart and can't make up for what she's done over the years. Therefore, she wants to use her life force to help other people's lives.

I don't think that is in and of itself a terrible motivation for an action like this from a reformed villain who thinks the way Ultear seemed to. I don't even think that she's entirely wrong to think so, considering she wanted to kill present Rogue to stop future Rogue. I could even understand our hypothetical character going through with his or her choice and going on to save a large number of lives, as Last Ages does.

However, this is a Mashima villain. He's stated in the past that he likes to make villains that are more than just evil. While we can talk about how he did with that goal, this feels like something uncharacteristic of his villains. 

And even if he wasn't open about his penchant to redeem villains, we'd absolutely know something is up. Jellal was in a similar spot during Nirvana - ashamed of his existence and ready to die - but he ended up being a better (not sure good is the right word) person. Meredy was convinced to become good and even was part of the reason Ultear started to want to change. Flare changes during the Grand Magic Games arc into Sun Village arc. Sabertooth becomes a good guild (not that they should have been evil anyway). A lot of Alvarez Empire arc involves Brandish's struggle of doing good and/or evil and Irene realizes she actually loved Erza before stabbing herself. Oracion Seis joins Jellal in Crime Sorciere (under duress).

In a sense, Last Ages is Mashima's way of saying, "This one's staying evil. They can't change." In another series with another writer, that wouldn't be annoying. With Fairy Tail, this is clearly purposeful. My job isn't necessarily to speculate as to why, but I can't think why that would make sense to him except that it makes the parallel to Ur for Gray. In a world where she doesn't come back to relevancy in the final arc, I might be to accept that as fine. Considering she did come back and that the continued relevance of Crime Sorciere past the Grand Magic Games, it’s not as if I can’t do things with her character if she were to stay alive.

Therefore, I'm actually going against canon in this regard. In the rewrite, Ultear wants to go through with the spell Last Ages but is prevented from doing so. (I’m debating who stops her.) With this, Ultear continues to be an active character during the series. What the circumstances are surrounding her not going through with it and what she does now that she's a part of the series are topics worth talking about. However, I'd like to save those for another time.

For now, though, I feel that it's worth mentioning is that not every villain has to be saved or redeemed. I'm not here to argue that every villain is equally deserving of a second chance, even though I absolutely believe such to be true on some level. Some villains will and should stay evil until the end. But if Jellal is going to struggle to do the right thing, I think Ultear should try to as well.

Introduction | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18  | Part 19  | Part 20  | Part 21 | Part 22 | Part 23 | Part 24

[sagemoderocklee]

Hello! For the meta asks, would you do 1, 5, 8, and 17?

you did not come to play, lilac! thanks for all these questions! <3

1. Tell us about your current project(s)  –   what’s it about, how’s progress, what do you love most about it?

oh lord. that’s a... question. i have. so many current projects, i don’t even know where to start. this is gonna be long so please bear with me lol i’ll probably give more detail for some fics over others, and i’ll only go over fics I’ve got documents for because otherwise we’d be here forever.

The Art of Love: so this one is obvious because it’s been in progress for the last 2ish years? no i think it’s three now. I won’t go into detail with this because the fic is roughly halfway through, so there’s plenty of content for that up! I’d say the progress with that fic is actually going really well, though. Unlike Alliance, which took 8 years--five years of writing, three of editing--TAoL has been up for way less time, and is already about to hit the halfway mark! I really need to get back to it, tbh because it’s been way too long since my last update.

Honor Bound (sequel to Alliance): so this is.... kind of on pause. I’ve got the first three chapters written, but my focus has been more on TAoL when it comes to my more complicated, long running stories, so HB has taken a backseat. I think I won’t get back to working on the Allied Nations Saga until after TAoL is done, in all honesty.

Find Me: this is my HS AU, which has been on the back burner forever and I feel terrible because I think it may honestly be my most popular fic. Unfortunately, AUs/slice of life stuff is difficult for me because I’m more interested in politics, so I lost momentum on this fic. It is about halfway done. I have a good chunk of chapter six written, but not enough that I could say I’m close to finishing it.

It Eats Your Heart: obviously I just started this one, and it’s a horror fic. I’ve really gotta sit down and do some major plotting on it because I only have some very vague ideas currently.

Pearl-Filled Lungs: this is one of like three ningyo AUs I have--the other are pirate/ningyo AUs (and ones actually a selkie not a ningyo). I started it last year for the GaaLee fest, and it’s been sitting unfinished for far too long. I finally sat down recently and plotted the whole thing out, so I’m hoping to get back to working on it soon! It’s only 5 chapters in total, so I don’t think it’ll take me super long to get through once I sit down and do it.

Who Dares to Love Forever: This is a working title, and I may change it. This is a fic idea I’ve had for a couple years, inspired by the song Who Wants to Live Forever by Queen. This particular fic is a vehicle for my sage mode!rock lee headcanon, and explores just how effective Chiyo giving Gaara her life would have been given she was an old biddy. So the idea for this fic is that Gaara’s running out of time because Chiyo only had so much to offer.

Absolution: this is another fic that I’ve had on the back burner for years. it was initially inspired by art by @brianadoesotherjunk but quickly spiraled into something much bigger because of course it did. This particular fic is one I’m extremely excited about. I need to go back over the first part, because I feel like it’s not quite right, but I do technically have the first part done. This fic follows Gaara struggling with bouts of narcolepsy that trigger nightmares induced by trauma and guilt from his childhood. These nightmares are incredibly dangerous for obvious reasons, but even more so because Temari’s baby is on the way. Temari and Shikamaru are married, living in the Kazekage estate, and with their baby coming and both needing/wanting to get back to work, they also need a nanny. Unbeknownst to Gaara, the year prior to the events of the fic, Maito Gai died, succumbing to the 8th Gate finally, and Lee has since been spiraling. His depression has become so self-destructive that he’s been taken off active duty. Shikamaru, along with the rest of the Konoha 12 (minus Neji and Sasuke), get together and discuss what to do. Tenten believes that Lee being a nanny would be the perfect thing. And so Rock Lee is sent to Suna, hired by Shikamaru and Temari as their live-in nanny...

We Need Not Be Yellow Tulips in a Garden of Gardenia’s, Yet We Go the Way of the Red Camellia: true to form, I decided that a hanahaki fic was something I had to do, and I was not going to pass up the chance at being as Extra As Possible with the flowery language, ergo the ridiculous title. I’ve gotten part way through the first chapter of this fic, but the whole thing is roughly plotted out and each chapter title is just as extra as the whole fic’s title.

Thirteen Strokes: so this is a fic I have--once again--had on my mind for ages, and--once again, because I am nothing if not a caricature of myself--inspired by a Florence+the Machine song, All This and Heaven Too. I started writing this the other night, as I wanna use it for GaaLee bingo. It’ll be 13 chapters, as per the 13 strokes that it takes to make the character for love, ai, in Japanese. The fic is from Gaara’s PoV, and follows his journey with and his relationship to love, with lots of worldbuilding and politics because it wouldn’t be an Eeri Original without those things.

Scarification: this is another idea for bingo based around the prompt shinshoubyou, which is a fictional disease where your emotions cause physical marks on you

Fill in the [  ]: another bingo idea, based around the prompt bouaishoukoigun, the fictional disease where you forget the person you love if it’s unrequited.

The Eagle’s Augury: an idea that allows me to play around with more worldbuilding and focus on Karura. In this fic, the curse (mentioned briefly on the Naruto wikia) that has led to every single Kazekage being assassinated, is coming for Gaara, and Karura is trying to warn him from beyond the grave. At the same time, Temari and Shikamaru’s marriage is approaching, and their ceremony is being held in Suna, with all the fan fair a marriage for someone from the Kazekage line should see. Again, another fic inspired by Miss Florence+the Machine, the song is Mother

Pomegranate Sun: this is a fic that I am... so excited about. Another fic that was originally inspired by a Queen song, Under Pressure, and has of course taken on a life of its own. This fic, I am actually going to be writing with @ghoste-catte! It’s an arranged marriage trope, and I’m super pumped for it! We’ve only got a little bit started, and it has obviously not taken priority for either of us since we both have a lot of fics on our plates.

The Ballad of the Dragon and the Phoenix: this is a fic I’m really excited but is going to take a LOT of research to get off the ground. I had this idea sometime last year, I wanna say? This fic is another self-indulgent headcanon about Lee’s origins, his family, etc. This fic starts when Gaara shows up on Lee’s doorstep, asking him to accompany him to another country for reasons Lee cannot understand. Gaara has been in talks with Phoenix Kingdom, hoping to forge a new relationship only to find that the Emperor wants to use shinobi for militaristic purposes. Lee doesn’t understand what help he could possibly offer the Kazekage, but he can’t very well turn him down.

okay, i’m gonna stop there. these are the ones I have titles and documents for, and honestly that’s probably way more than you wanted to know about lol

5. What character that you’re writing do you most identify with? 

Despite the fact that most of my fics end up from Gaara’s PoV, I actually identify with Lee the most!

8. Is what you like to write the same as what you like to read?

Yes! Which is hard to find, tbh, because I am a sucker for political dramas with slow burn romances, but I don’t see a lot of that in the GaaLee fandom. I’m not as into like slice of life or short stories where the characters get together quick, I’m really not into established relationship fics unless it’s a sequel, so I tend to avoid those. I like AUs but it really depends on the AU, because I ultimately prefer the canon and I love seeing the way people write the shinobi world and all its rules and cultures and things. I’m just a big fan of worldbuilding, politics, and slow slow burns. Not this 25k SLOW BURN! crap because that is NOT a slow burn. I wanna see a fic that’s 200k words in and they still haven’t even figured out they’re in love! I like stories I can really sink my teeth into, ya know?

17. Do you think readers perceive your work - or you - differently to you? What do you think would surprise your readers about your writing or your motivations?

Oh gosh. I generally don’t think too much about it except like hoping people don’t think I’m like a stuck up asshole because of how I talk about my writing, writing in general, my hcs, etc. I mean, obviously I don’t expect everyone in this fandom to like me--and there are ppl I’ve gone out of my way to be vocally against because they do nasty shit--but largely I feel like I come across as too intense, so even the general population of GaaLee fans that I do want to interact with I’m always a lil nervous that people secretly don’t like me and basically are like “oh god this bitch again” when they see me in the tags. But I just get really excited and invested in my ideas, and honestly for the longest time this fandom was SO small and there weren’t a lot of people putting out content regularly so it was like a handful of us so I think it made me more emphatic about GaaLee lol I think I always like assume people aren’t as excited about my writing as I am or that people are like “too much politic, i need more romance”.

I’m always surprised when people really love my AUs, like Kado or Find Me have had such fantastic reception, and it’s like people just eat that shit up so much. And then I look at like Alliance or Art of Love and get kind of confused because I think by comparison those are more interesting and more developed than my AUs. I put a shit ton of work into everything I write, especially anything that requires research, so it’s not to say that I do less work per say, just that I feel like TAoL and things like it are more interesting and more developed, and the relationship feels.... somehow more to me there than in an AU.

a lot of my motivation really just comes from the lack of content this fandom had for so many years, and the fact that Naruto could have been a much more interesting series and I love worldbuilding so much. I think my motivation for each fic is different though. Like Alliance was started because I wanted to write something different from what was mainly in the fandom at the time because mind you I started that in 2010. But my motivation for TAoL is more wanting to tell a beautiful story with a complex narrative that looks at the failings of the shinobi world. Whereas like any slice of life fic is really just meant to be a fun break. And sometimes I write something literally just because I wanted to fulfill that trope for the GaaLee fandom--again, a lot of my ideas have been sitting for years and years and years (TAoL was an idea I had literally right after starting Alliance, but I didn’t get to it until 2017), so a lot of ideas that are old are because at the time that trope hadn’t been fulfilled yet in the fandom though that’s changing a lot with the recent GaaLee Renaissance of the last couple years.

[reliciron]

Exploring Arcann’s Romance: Part 1

So Arcann’s romance, huh?

Kinda sucked, didn’t it?

So I’m going to throw down some ideas that might flesh it out a bit. Again, these are just some of my interpretations, and since I love thinking about his romance I would really like to hear other ideas because some of mine are getting stale from how often I’ve run through the scenarios in my head.

Strap in, it’s another long one.

Part 2 here

Like any in-game romance, there are as many different ways to introduce a romance as there are fans of that pairing. No two are going to be exactly the same, but I’ve found that fans seem to get more creative about a romance the less satisfactory the in-game scenes are. If there’s several scenes with good emotional weight that lead to a satisfying confession/kiss/sex scene then a fair number of fics will include the canon scenes in some form. I’m not saying that this is lazy fic writing, I’m saying that its a testament to how good the canon content is. If what we got is shit, then we’re more motivated to make our own; if it’s good, then then we can focus more on the unseen parts of the existing scene, like their internal dialogue, rather than creating a completely new one. Ex. Fenris from Dragon Age 2. All these years later, I still love his romance. I find the flirting and romance scenes satisfying and true to the characters. I’ve read a lot of Hawke/Fenris fanfics, and a large portion of those who addressed their getting together tend to follow the canon scenes closely. They’re not exact of course, often there’s enough of the author’s flavor to make the scenes feel new again, but I feel like this illustrates the trend.

On the other end of the spectrum are romances like Arcann’s. I understand of course, his romance is an afterthought in the game. An addition that came after the story was concluded and tacked on in a single companion alert that could easy be overlooked. Add that little scene variation before The Nathema Conspiracy flashpoint, and we’ve got two measly little scenes and one or two messages. Compare that to Theron Shan’s romance. Assuming you ran through the Prelude, Shadow of Revan, and Ziost, then you’ve been flirting with him for months if not years. (Quick note, I’ve only romanced Theron as an Imp-side character so I’m not sure how different it is Pub-side) We get to see him flustered by our interest in the Prelude. He subtly checks if we’re still interested when we first see him again on Rishi and acts more accepting of our flirtations. He’s even more confident on Yavin 4, going as far as expressing his worry and his own flirtations. We even get kisses! One on Rishi, one on Yavin. And he seems genuinely regretful that we have to part ways. We don’t get much on Ziost, which makes sense since things are happening so fast, but we get enough to know that he hasn’t forgotten us, and he still harbors interest.

In KotFE, we find that sweet, sad, nervous message waiting for us once we get to a mailbox, and once he enters the story we get plenty of opportunities for flirting, kisses, and soft emotional scenes straight through to the end of Nathema (assuming you didn’t kill him or break up).

Arcann’s content looks pretty pathetic in comparison, so it’s no surprise that the few people putting out fics for him have their work cut out for them.

The first major division we can make are: fics that assume Arcann fell for you after he joins the Alliance, and fics that assume his interest started much earlier, when he was still the villain. The second one is: fics who include the canon confession scene, and those who make their own.

Honestly, I think I speak for everyone in that the content for Arcann is so sparse that most readers don’t have a preference. Beggars can’t be choosers after all. But such categories can help us corral our ideas on his romance.

The companion alert itself is seems very heavily predisposed toward someone looking to romance him. He made you armor so you can always be protected for god’s sake! Even if you’re not looking to romance him, it still makes you think that he’s crushing on your character big time (which he actually admits in a message post-confession). Add those pre-romance messages to this scene and it makes it painfully awkward for anyone who doesn’t romance him.

But even then, the whole thing is extremely abrupt. The last we knew in the game, our character is at least on civil terms with him, but his speech is still very formal and his actions still scream nervous subservience. He still seems very unsure of his position in the Alliance, so he’s probably falling back on what he knows from his years serving Valkorian. Emphasis on serving.

I don’t think I need to tell you guys how bad that is; going into a relationship with the person you feel subservient to.

So it’s little wonder that most fics either put way more distance between the end of KotET and the confession or put more work into advancing Arcann’s headspace into a healthier place, often a little of both.

It’s important to me that I don’t fall into the trap of “love fixes everything” because I don’t personally like that kind of relationship.

Arcann’s so messed up that it would take years to get him in to a completely healthy state of mind, and most fics don’t have that sort of time, but we can at least try to get him into a more confident position before we dive into the romance.

Now, to the romance scenarios. Specifically, the ones where he started being interested in you after he joined the Alliance.

The fics I’ve read who do include the canon alert scene, tend to change it a little. It seems best to let it play out normally without picking the flirt option. That awkwardness can then be used in a more natural confession later on.

Either your character hadn’t even entertained the idea of romancing Arcann, or they had but assumed he wouldn’t return their feelings. Depending on how careful and emotionally insightful they might be, they could also worry that their interest would not be appropriate for the situation. They could worry that even if Arcann was interested he wouldn’t be ready for a relationship. At worst, if they’ve noticed his subservience, they could even worry that he wouldn’t refuse their interest out of some misguided need to appease them or because he feared for his position in the Alliance if he refused. After all, your character is the Commander and they are technically in a position of power over him. Do I think he would actually do that? No. But an overly anxious character, or one looking for any excuse not to confess, might worry about it.

Either way, Arcann gifting them armor, showing an almost desperate need to protect them, and his messages paint a pretty obvious interest. They could be too surprised or flustered to properly respond right then, but they could take the hint to start making moves on him. Whatever that means for your character, whether it’s blatant flirting looking to get a reaction out of him, or its more subtle, like little innocent touches and spending more time with him. The response is up to you.

I admit, I’m all about that pining, so I tend to assume that he has already come to the conclusion that he’s interested in your character and that there’s no way they could possibly like him back. So I figure that any flirting will be coming from your character. How long it takes for him to catch on depends on your character’s personality, what kind of flirting their doing, and how unusual it is for them to act that way.

For those who disregard the confession scene entirely, the sky’s the limit. I have a few ideas of my own but there aren’t really any guidelines here so long as you try to keep them in character (if that’s something you want to do, writing OOC characters is an option, just not one I enjoy). And if you DO need them to do something that would be out of character, then spend the time and do the work to get them to a point where it wouldn’t be. If you need Arcann to take control and push your character up against a wall you can’t go from an unsure regretful man to playful sexy man in 3.5 seconds, work on him to get him there. Throughout a reasonable amount of time and circumstances, boost his confidence, make him feel as if that action would be welcome to your character and not frightening. The actions that lead us there, however, are up to you.

As for Arcann’s falling-for-you process:

I think it was first rooted in respect and a little hero worship.

Assuming that he was honest when he said he didn’t feel anything but negative things for you pre-ritual, let’s consider what those might be.

At minimum you were an annoyance. Some little shit who didn’t have the sense to bow down, and kept foiling his plans. The longer you kept making yourself a nuisance the angrier you made him. You somehow managed to find the one ship who could stand up to the eternal fleet, effectively spitting in the face of his military might. You survived what should have been a fatal blow. You had the gall to come back to Zakuul while there was an active bounty on your head. You subverted his own subjects, showed his automated army was not immune to sabotage, stole the majority of his treasury, and came within striking distance of disabling the entire fleet. He went from being mildly amused and faintly irritated at the mention of you, letting you run around Zakuul with only an offhand warning to the people, to being so fixated that he willingly ignored that Scorpio had taken the throne just so he could attack you.

You were willful, persistent, cunning, and absolutely infuriating. A Robin Hood to his Prince John.

But now he’s on the other side. He’s part of your Merry Men. And those qualities take on another light.

With his rage pacified, his newly reemerged empathy has shown him the cost of his actions. Actions that Vaylin is now mirroring. Suddenly facing down the might of the eternal fleet with its legions of Skytroopers and Knights, the shear impossibility of the task finally hits home for him. This is what the Commander has been fighting for months. Through charisma and shear force of will, they’ve managed to convince people to band together against ridiculous odds, and through guerrilla tactics and their own considerable strength they’ve actually been able to hold their own.

If that doesn’t earn his respect nothing will.

And with their continued dogged attacks, even in the face of such adversity, I don’t know how he wouldn’t admire them.

But your character’s been through a lot by the time he joins up. They’ve been at this for months if not years, all the while toting around the ticking time bomb known as Valkorian. We don’t see it in-game, but they have to be exhausted. Mentally and physically. And now he’s in a position to see those cracks start to form. The shadows under their eyes grow darker, their movements more sluggish, and their patience thins. He watches the way their gaze goes distant or they track someone with their eyes when there’s nothing there, and knows that it’s his father haunting them. Every loss hits them harder and weighs heavier on their shoulders, and Arcann’s admiration for them grows alongside his fear.

Fear that they will break under the pressure.

But to his increasing surprise, that worry is less and less about what that would mean for the galaxy, or even the Alliance, and more what that would do to the Commander. He finds that he’s grown to actually like them. The perseverance that once enraged him now leaves him in awe. The tone he’d thought was mocking is now charming or soothing. The depths of their strength is no longer frightening, but inspiring.

There is a light in their eyes. And every day, every appearance from his father, every loss, causes it to dim a little more. And he’s become terrified that it will go out.

I agree that the scene in the throne room is the turning point for him. When admiration and fondness turned into romantic feelings.

“It was not until you defeated Valkorian and took the throne that I realized my feelings had evolved beyond admiration.” - In-game Message

Seeing his father taking control of the Commander must’ve been terrifying. I’m sure he felt it.

There must have been a surge of Valkorian’s power, and then the Commander’s presence all but disappeared.

Our character was so badly broken that they took on Valkorian’s image just to survive. [Brief side note: I loved those scenes where you have to reassemble yourself by stringing your memories together. But taking on Valkorian’s image never made sense to me. If I address this in a fanfic, I’d prefer being a formless glob of light, or maybe a walking collection of shattered glass.]

You were unconscious for so long and Arcann got so scared that we was willing to go in there after you. He even expresses his worry to Senya that he “wouldn’t be strong enough”. Whether he meant he wouldn’t be strong enough to resist falling to the dark side again, or he simply wasn’t powerful enough to defeat Valkorian is unclear, but the important thing is that he was willing to risk it for you.

I cannot emphasize this enough, he was so scared of losing you that he was willing to face down the man who abused him for decades.

And this close call made him realize how important you were to him and how deep his feelings for you actually ran.

Part 2 here

[ffwriteradvisor]

Character skill sets

Obviously, you don’t really want a character that brings nothing to the table. On the other hand, a character who can do anything and everything so good that they can compete with deities dedicated to the subject of the day is often too much for the average reader to believe. There’s also a matter of how well the skills mesh together in practice, the amount of variety brought to the table, the difference between a developed skill and a mere talent, the nature of the skills - are they the sort of thing that anyone can develop or are they based on some inherent trait? - and how age and life experience plays into building a character’s ‘resume’.

It’s, as you can tell by the small laundry list I just rattled off, a tricky business.

Good news - there aren’t any hard and fast rules to giving characters skills. There are some guidelines and you’ll often find yourself playing by ear to see if your latest take strikes a sour note or not, but there are only a few ways to really do it wrong and, even then, there’s ways to salvage it.

But let’s focus on the points I listed already.

Let’s Play ‘Pick The Protagonist’ - (The Problem Of The Unique Protagonist Asset)

How many stories have you watched or read where the main character has a special, one-of-a-kind ability that makes them stand out above all the other characters in the story?

The answer is probably ‘a lot’. It can take the form of a one-in-a-million power, a sacred sword that only allows one hand to wield it, a legacy passed down over the ages... there’s a lot to work with here.

There’s nothing wrong with doing that with your protagonist. It’s probably one of the better reasons for dragging a random person into the plot - if you’re the only person who can stop the end of the world because the anti-Doomsday weapon decided that it lives in your hand now, there’s not a lot you can do about it. But there’s also something to be said for a protagonist that doesn’t have a grand destiny giving him a fair shot at victory just by merit of existing.

Plus, like. There’s also logistical issues to deal with. So let’s address those.

Depending on the story or fandom that you’re working on, a unique protagonist asset isn’t feasible. Sometimes because such things don’t exist in-universe (One Piece would be a good example of a series where literally the only thing you need to be a contender is a will to succeed and a boat, though I guess you could consider Conqueror’s Haki or a Devil Fruit ability ‘unique assets’...), but sometimes it’s just because the canon main character of the story you’re writing for already has that asset on lock.

There are ways around the second - you can kill off the original guy and take their place through reincarnation as said-guy, plot erasure of the guy (just flat-out make it so he doesn’t exist, it’ll be fine), or just being a convenient runner-up who happens to meet the bare minimum requirements to be the guy.

You can also shoehorn your OC into position to turn the Chosen Uno into the Chosen Duo, though this path of action doesn’t have the best reputation historically thanks to the influence of the Dread Mary-Sue on fandom culture (I’ll be posting an article about that eventually), or change the story to make room for a large range of potential Chosen - this one specifically can allow for an added plot aspect, because suddenly there’s competition to achieve the final goal and complete the quest for whatever.

And on that subject, let’s jump to our next point!

The Problem With Superman (and how to challenge the man who has everything) 

Now, there’s no shortage of characters who, quite simply, are written to be good at everything - sometimes not even just good, but the very best ever. No, I’m not talking specifically about the Dread Mary-Sue, though the archetype associated with that term does often come with such a description. This is a pitfall just about anyone can fall into, irrespective of age, gender, background, or the originality of the work in question, even if the most blatant forms of it seem pretty easy to avoid.

Most writers know better than to make one character good at everything, but you get exceptions fairly regularly. Batman writers, for one, have a tendency to assume that Batman knows everything there is to know and can defeat anyone on his own ‘given enough prep-time’. There’s also the fact that a fair few Superman stories often have to call on Kryptonians or Kryptonite to make the plot complicated enough that the solution of ‘just move really fast and take advantage of invulnerability to punch/move/freeze/melt the problem before bad thing happen’ doesn’t work.

Then you have the more subtle examples. Where a character isn’t good at ‘everything’... just everything relevant to the plot and what we see of the setting. A good way to pick out this is to look at a story and start removing characters. Remove the science guy, the spy, the sidekick... If you can shave the cast down to your Super-suspect without having to change any major or middling-size plot points, twists, and story beats or having to shift the difficulty level of the setting, you probably have a problem.

Obviously, this doesn’t work for every story, especially if they have a very small cast to begin with. There’s also the fact that most stories are built around emotional journey’s instead of ‘use x skill to get to y place at z time’. But a lack of difficulty or danger played completely straight is something of a warning sign if you’re working with a genre that requires that there be some manner of challenge in the story.

So, let’s take a look at some of the more specific issues with power distribution.

Equal Opportunity Asskicking vs. There Can Only One Chosen One In This Town (how common is power in the setting and how does that affect the plot)

Have you ever thought about how many series - video games in particular - have the protagonist solve all the problems they come across, even the ones that seem like the sort of thing any rando could handle? Especially when you have a big organization that could theoretically handle a few of these things without the protagonist being present for everything?

It’s often hand-waved as ‘they’re not strong enough to deal with it’, but why would that make sense? If the setting is so dangerous, why isn’t there more people operating at or above the protagonist’s power level without being a member of the primary cast herd? If there’s such a dangerous colony of animals on this island, why are these fragile citizens still living there? Why is this martial art that’s so powerful and useful so goddamn rare and special despite its utility? How did such a weak person climb so far up in an organization that seems to value the punchinating power of its employees above all else?

It doesn’t make sense.

This is a problem that plagues a lot of series with an emphasis on fighting. The average person becomes an alien creature as the protagonists and antagonists gain more and more power and take down bigger and bigger opponents. The ante keeps going up and the rest of the world stays down where it started, which... well. Doesn’t make sense.

Think about Dragon Ball for a moment. On the Earth of that series, how many people would you say represent any kind of physical threat to the protagonists or the antagonists at any point in the story? I’m not asking over the course of the story if Dragon Ball-era Goku could stand even half a chance against Cooler, but if you took a specific episode from like... oh, I don’t know, the Cell Saga, how many people on the planet at that time would stand a chance of surviving the events of said-episode if they were brought into the blast radius of the plot?

The number is probably in the low tens. And the fact that, even with a lifetime of training in setting, the best chance for a person in that setting to survive that specific scenario would be coming from ‘superior’ alien stock such as the Saiyans.

And Cell isn’t even the top of the danger totem pole in setting.

Going back to our previous example, One Piece is a fairly good example of how to handle this. There are many routes of power in the series - Devil Fruits, Haki, training, inherent species traits, and more are possible in terms of physical strength, but there is also value given to intelligence and the ability to strategize and create unconventional solutions. Even the ‘weakest’ member of the Straw Hat Pirates, Usopp, who has no Devil Fruit, species ability, mutations, or, alterations, and only one form of Haki (fairly recently awakened and not even one of the offensive utility variants), is able to keep up with the rest of the crew by having a variety of weapons and skills he has developed himself. There’s also the fact that people in the setting tend to be fairly well developed to the danger levels of their relative environments, either in terms of physical strength or having strategies to deal with the dangers around them.

It still suffers from the emphasis on combat before most else, which is common in Shonen, but it at least feels fairly balanced compared to some other series that have a similar approach to strength in setting.

Besides power distribution in a setting, there are other things to consider beyond combat applicable skills.

Combo Platters/The Five Basic Food Groups (the importance of variety and moderation)

There are different types of skills that you need to balance when making a character, both in terms of variety and rationing them out in a reasonable manner.

There are career skills (good for making money, but not overly relevant to day-to-day life), utility skills (cooking, cleaning, basic home repair, etc.), recreational skills (art, music, other specific skills that aren’t necessary for day-to-day activities but lack the immediate financial reliability of career skills), interpersonal skills, and combat skills (self-explanatory).

Obviously, different skills have different ‘weights’ in terms of plot impact. A fighting series probably won’t make much of a character’s house painting skills unless it has an impact on their combat skills (which is entirely possible depending on how the writer goes about it), but someone knowing how to use a sword at a high level means that they’ve got a lot of physical capability to quite literally cut through the competition.

If you need a combat skill for a character... well, I already dedicated a post to talking about that specific range of skills. You can also apply their non-combat related skills to their fights in a tertiary sense - a lack of primary offense can lead to unorthodox tactics to bridge the gap.

But other skills have their uses too. It can allow you to make use of your characters outside of a combat context, reveal things about their character that might not be immediately obvious from their appearance - not just their interests, but background as well, though I’ll cover that a little later in more detail -, and bring them into the orbit of other characters naturalistically. You can only have so many Crash Into Hellos before the charm wears off for the audience.

In giving your character skills, you need to balance those skills. Making a character a ‘master of combat’ who can use any weapon under the sun like a master doesn’t work without some kind of supernatural explanation - martial artists tend to specialize. I’m not saying that you can’t have a character with multiple weapons skills - there’s a lot of historical real-world precedence for that, actually, usually in the combination of ‘ranged/close range/mid-range’. But a lot of those multiple weapon sets tend to be in sets that cover the weaknesses of the other weapons - sword, bow, and spear cover different combat ranges and needs, and there are various martial arts that teach their students weapons handling in conjunction with unarmed skills.

A generic ‘swords skill’ is non-functional - there are many types of sword in the world, varied by their size, weight, shape, and intended use in combat. Some swords are intended more for stabbing, others for slashing, and while you have more than a few that can do both, there are some are simple not built to stand up to the stresses of the other style.

They Didn’t Cover This In Kindergarten! (why you need to tailor skill-sets to your character’s life experience and background)

Another thing that can affect the size, nature, and diversity of a character’s skill set is their age, life experience, and background.

You wouldn’t expect a character that comes from nobility to have any concept of how to street fight without some kind of explanation attached. The same rule applies in reverse - you wouldn’t expect a character living in the gutter to know the nuances of fine manners and etiquette of nobility without a good reason. Depending on the period, a person from the second background couldn’t even be expected to know how to read.

That’s not to say you can’t use those things, but you have to have some kind of structure to support those additions. Maybe your noble doesn’t have the spotless background most would expect from one of their station or, in another scenario, someone pulled a Prince and Pauper switch back in the day and then neglected to switch them back. Same with your gutter rat - maybe they’re a fallen noble, maybe someone made a go at pulling a Pygmalion with them before losing interest, or maybe they’re an autodidact (that is to say, self-taught).

The age of a character can also affect the width and breadth of their skill set pool. People don’t expect five year olds to know much about anything - their reading skills are just getting started, their language skills a bit rough around the edges, and their ability to prepare food is generally limited to toast and toast-adjacent goods like sandwiches.

On the other hand, an elderly character, while having plenty of time to collect lots of skills, may not be able to utilize all of them anymore or might have even forgotten enough of them to be counter productive.

My grandmother, over the course of her life, has worked at several jobs that had fuck all to do with each other. She was a carhop at a drive-in, worked at a grocery store, worked at a local medical factory, worked at a guitar factory assembling instruments long enough to have a hand in every part of the process along with possessing the know-how to design a thing to make winding strings (I might be miss-remembering her exact description of the thing) faster and safer (and then not getting paid or credited for it after the company started using it), and drove bus for several years. She also had all the skills of an at-home housewife, a professional upholsterer, unprofessional seamstress, knows how to treat and care for wood furniture, knows how to work with and maintain leather (not how to make it though), was a very good cook until her physical condition no longer allowed her to handle such tasks, was physically capable enough at one point in her life to help with construction on her own home, and was a good enough artist that she was given two separate opportunities to go to college for the subject back in the 50′s.

That’s a lot of stuff. Each career - including housewife, as there’s a lot of work involved in homemaking - might provide for three to five distinct skills, a few of which would be extremely specific to that particular career path.

On the other hand, a lot of these skills haven’t been used for decades, meaning that not only would she be extremely out of practice, her understanding in a certain field might be anywhere from thirty to sixty years out of date. There’s also the fact that her physical condition is very different from what it was back then, meaning that even the skills she remembers how to preform correctly might not be feasible thanks to her own body failing to cooperate.

The Humble Bundle (varied skill-sets that come from specific careers/backgrounds).

As I touched on in the previous section about how to select certain skills for a character based on life experience and backgrounds (admittedly based on variety + how time factors into it, but that’s the point of specific focus sections), we‘re going to take a closer look at ‘skill clusters’.

You don’t have to cluster all of the character’s skills - in fact, I suggest making sure that you don’t do that, unless the character is specifically a bit character who is there to perform a specific function rather than being a long-term fixture in your cast - but there are some that simply are more expedient to cluster and can sometimes boggle the mind if the character sometimes lack some of those vital skills.

Say you have a character who’s a trucker (or, if you’re working with fantasy/sci-fi, the local equivalent of). They’d probably know how to handle a few different kinds of vehicles (in a mundane context, they’d probably be qualified for both commercial driving licenses and the unregistered kind most people have, but possibly also know how to handle loading vehicles), know how to repair their vehicle if it is damaged (this can vary in skill - knowing how to jury-rig a solution to a small inconvenience is very different from resurrecting a dead engine), have a good understanding of navigation, access to a trade-specific tongue (radio jargon, for one, if we’re still sticking with the mundane modern AU), know how to handle long hours of relatively boring work... and that wouldn’t even be the sum total of their skills tied in some way to this particular profession.

Still, it doesn’t read as an unrealistic amount of things for a single person to know how to do, does it?

On the other hand, if I gave you a character who’s... I don’t know, a generic protagonist of no particular employment and said that their list of skills includes navigation, medical knowledge, being an expert chef, trained fighter, classical ballerina, multiple languages, and limited telepathic ability, it reads as a bit much, doesn’t it? Especially when it just comes up out of nowhere without warning or even an allowance for being less than good at those things.

Part of it is that it takes time to learn how to do things, as we covered in the previous section. Having a talent or instinctive understanding for a particular subject can help cut down on that, but that can only excuse a few things - someone who’s a natural born fighter usually can’t turn that natural instinct towards language acquisition or legal understanding. The other part is that everyone knows that most people aren’t good at everything they turn their hand to, so even with a lot of effort, we wouldn’t expect a single person to be good at everything.

That’s why a diversified cast is important, so the needs of the group can be met in a more believable way, though there are also work arounds that can be used to keep the cast smaller or the inability of the group to meet those needs can be used to raise tension in the story. Injuries become a lot more notable when there’s no healer in the group, after all.

Gifts, Loans, and Hard-Earned Pay (the difference between talent, training, and temporary trades)

Now, there are a couple things you could use to ‘explain’ why a character is good at things. Like most of the points I’ve made so far, this is expanding on a few things I mentioned off hand in earlier parts of this article, such as the importance of age and life experience.

Now we’re going to be explaining the mechanics of why a person might be good at certain things. There are a few different approaches to this.

In terms of purely mundane ways, you have talent and training to explain why a person would have a certain level of ability with specific skills. These can’t universally be applied across the board, of course - you’d prefer someone with medical knowledge over someone who says that they have a ‘talent’ for it and there are other fields that require a person have a certain amount of instinctive ability to flourish. Most would agree that it’s important to have both in any given field - for example, art requires both talent (the ability to visualize what you want) and training (to transfer that vision to reality).

When dealing with supernatural settings, there are other routes. Boons from supernatural beings, familial inheritance, memories from a past life, temporary grants of power from special artifacts, and so on.

This can allow for a skill to be acquired quickly while also pushing along the plot in various ways, but there are a number of drawbacks to this one as well - a character who has been granted a supernatural power might lack the practical experience in how to use that power well, the memories of a past life don’t confer the physical conditioning required to actually pull off some of those skills or the world has moved on since those days, rendering those skills out of date and possibly useless, the artifact has a mind of its own and opinions on how it can/will be used, etc.

There are drawbacks to the more mundane routes as well. Training takes time and effort, along with coming with the risk that the character has been trained wrong or in a way that isn’t helpful to their current situation - ex. a medic who’s extremely competent in a hospital setting but is now stuck in a place where they have none of the resources they’re used to, a self-trained martial artist who doesn’t know how to modulate their force well and has a lot of holes in their technique because they never had a trainer to point that sort of thing out.

Talent can lead to a person becoming complacent with the idea that they’re automatically going to be good at a thing forever despite evidence around them to the contrary and make them frustrated whenever they do run into something they don’t quickly understand or make progress with.

On the upside, you can also use these to build off of each other. Training can help refine both talent and control over new gifts, a well-chosen gift can make a well-trained character something breathtaking, and discovering a previously untapped talent can throw a character who’s previously had to struggle for everything in their life a well-deserved bone.

Now, hopefully this covers enough points thoroughly enough to be helpful to everyone. If not, please shoot me a comment and I’ll try to expand on any areas I might have missed.

[neuxue]

Who are some of your favorite villains?

Oh man, that is a question, anon. This is not a comprehensive list, because if I started listing every morally corrupt character who owns my soul, we’d be here all night. I’ve also taken a somewhat flexible definition of villainy at times, because…it’s complicated.

Also, spoilers for uh…most of the things listed; I’ve tried to keep it vague where possible, but the nature of villainous arcs means sometimes that doesn’t work. I’ve listed the work before the commentary, so if you don’t want spoilers for the thing, skip that section.

In no particular order…

Lord Asriel and Marisa Coulter (His Dark Materials): okay, so arguably they’re not villains, per se, but they each serve as antagonists at various points, they’re ambitious and proud beyond belief, and their morality is…well. Complicated. (Did I lose my mind at the ‘corruption and envy and lust for power. Cruelty and coldness. A vicious probing curiosity. Pure, poisonous toxic malice […] you are a cesspit of moral filth’ speech, from a corrupt angel to the one deceiving him? Abso-fucking-lutely. Also ‘I wanted you to come and join me. And I thought you would prefer a lie’). They’re also on this list because they were my Formative Villain Faves from the age of 7, which probably tells you something about who I was as a child and who I am as a person.

Nirai Kujen (Machineries of Empire). You really…could not write a villain more My Type if you tried. I’m not sure I could write a villain more My Type if I tried. Immortal, immoral mathematician who traded empathy for the ability to act on it, reconfigured a universe, and has lost most of his humanity but not his sense of beauty? I am but a simple woman. It helps that there is one hell of an enemies/allies/lovers dynamic going on between him and another character who is a different sort of my type, and it’s precisely my kind of Fucked Up Power Dynamics.

Moridin (Wheel of Time): ’Your logic destroyed you, didn’t it?’ I have a whole…thing about villains who see themselves as a kind of anti-Chosen One. I’ve written about it slightly more coherently elsewhere, but it comes down to a particular kind of despair and perception of inevitability, that they have no choice but to fight and that their role is always to lose, and that they will be cast and remembered as the monster, and so there is not reason not to be monstrous, but that doesn’t help with the self-hatred.

Semirhage (Wheel of Time): I could pick a lot of the Forsaken, and one or two other characters from WoT but I’ll stick to two here. Semirhage is all about pain without emotion, and I’m into it.

Malkar (Doctrine of Labyrinths): okay, he’s sort of in the category of scenery-chewing villain you love to hate, but I do love to hate him. And he causes so much delicious pain for the major characters; it’s almost like he’s running a charity service for those of us who like watching our favourite characters hurt.

Aaravos (The Dragon Prince): Listen. Listen. Trapped in a mirror, lost and alone and yet only letting that show in glimpses, possibly a Prometheus figure, graceful and beautiful and terrible, and that voice. Also the entire aesthetic. He is awful, and he is a delight, and he has that kind of cruelty that you can almost forget about - it’s as though he’s so into the villain aesthetic that you almost think it’s just an aesthetic, almost forget how capable he truly is of horrors, and so when he commits them it’s all the more thrilling.

Astrid & Athos Dane (Shades of Magic): The Dane twins deserved better. And by better I mean more screen time. They were criminally underused as villains and they had such potential. Vicious and cruel in a world where to be otherwise is to die, holding power by blood and pain, and chaining another …well, if not villain then certainly antagonist to their will, forcing him to serve the world he wants to save? Which brings us to…

Holland (Shades of Magic): Holland is…arguably not a villain but as an antagonist he is absolutely my type: powerful and ruthless and broken, and yet somehow still fighting; a character whose defining trait is his extraordinary will (and also self-hatred); a character who, literally in canon on the goddamn page, is told ‘no one suffers as beautifully as you’. (Plus he gets a redemption arc! That lets him remain complicated and doesn’t undermine his competence! And while it falls into redemption-equals-death, his death doesn’t come at the turning point in his arc the way it does for so many villains - he gets a whole road-trip first!)

Melisande Shahrizai (Kushiel): oh man. She’s such an interesting character, and the narrative does an excellent job of creating that link between her and Phedre - a really, really compelling and beautiful form of 'you know it’s a terrible idea but you can’t help yourself’. Also, she and Marisa Coulter should never be allowed to meet (by which I mean, I would read that fic). I’m also always here for a female villain who gets to be complicated, who has depth beyond just the typical 'femme fatale’ (though Melisande could certainly claim that title), and who is truly central to the story rather than there to look pretty.

Azula (Avatar: The Last Airbender): For all that I love Zuko, he doesn’t belong on this list, flexible as my definition of 'villain’ here is. Azula, on the other hand…sharp and vicious and a void of anger and fear inside, and if she has to feel that, then the world should too.

Zhao (Avatar: The Last Airbender): It’s at least 85% the voice, and the other 15% is the way he looks at Zuko (I know, I know, I’m sorry).

Rhaegar (A Song of Ice and Fire): Rhaegar’s villainy is…complicated, but he gets a spot here anyway. I have a niche subtype that can be defined as Sad Harpists (Rhaegar, Maglor, Deth, Morgon, Asmodean), so that’s part of it, as is the way he sets that aside out of what he perceives as necessity. But also most of his draw is how he’s this shadow hanging over the entire narrative and yet is himself a void in it; we see so little of him, know so little of him in truth, catch only glimpses and will never know what’s behind them, and every character sees him differently, and he has defined all their lives but we know almost nothing of his. I’m all about identity and choices, and the fact that his are so thoroughly obfuscated but have such a lasting impact on the entire world really does it for me.

Baru Cormorant (The Masquerade): Does she count as a villain? I suppose it depends entirely on whose point of view you’re watching from, which is kind of the point. Regardless, she is so much of what I want from a character, from an author who doesn’t do things halfway. Intelligent and ambitious and utterly ruthless, to both herself and the world she wants to burn down around her.

Delilah Briarwood (Critical Role Campaign 1): any character whose cry of agony and despair takes the form of 'I broke the world for us!’ is a character I’m going to like.

The Lone Power (Young Wizards): mostly because the traditional greeting, upon encountering them, is ’fairest and fallen, greetings and defiance’, and I am a simple woman. But also because they’re the Lucifer figure, in all senses - evil, perhaps, but mostly a necessary embodiment of entropy, one who must exist and must struggle and must always lose, beautiful and bright and terrible, and oh so proud.

Judas (Christian Mythology): He betrayed a guy with a kiss. What more do you want from me?

Rin (the Poppy War): By the end, she makes a very compelling case for herself as a Villain Protagonist and I, for one, am into it. Also, 'genocidal’ gets tossed around a lot when villains are discussed, often without cause, so uh…points to Rin for actually deserving it? (This book is strongly in the category of Not For Everyone, but if it’s your thing…weaponising gods.)

Loki (Marvel franchise & Norse Mythology): so, I have a complicated relationship with 'trickster’ figures and characters, in that I like the idea of them, but tend only to actually enjoy the ones who fall on the darker side of that line they all dance around. Loki, in pretty much all his incarnations, fits that mould.

Achilles (Greek Mythology): Is Achilles a villain? Depends who you ask. But he’s powerful and proud and doomed, and knows it. I just…heroes who go out in a blaze of glory are all well and good, but villains who step up to the flames of their own damnation?

Ruin (Mistborn): It’s funny; I really enjoy a lot of Sanderson’s stories, but by and large he tends not to write my type of villain (which I will forgive him because he gave me Kelsier). But Ruin…starts off like just another godlike semicorporeal villain with absurd power, as you do, and then gets significantly more interesting – and tragic – when you learn the full story. I have a thing for villains who chose their villainy out of necessity (with a side helping of hubris) and become that which they most hated or feared. The ones who look at a razor’s edge and think 'I can walk that’. Who look at power that will consume them and think 'I can control it’. It’s a very specific kind of… arrogant sacrifice, I suppose, and it never ends well and I’m into it every time.

[kineticallyanywhere]

Lets make some AU terminology

Disclaimer

I cannot possibly go over, mention, or hit, every single type of AU out there. I only hope to generate and/or explain some terms and invite the creation of more. Some of the ones I've ended up with here are: genre, trope, home grown, canon divergent, toss the canon, butterfly effect, reality twist, classic crossover, transplant crossover, framework, hog wild, character fodder, and world fodder.

Okay here we go

The Genre AU

A genre, or genre-bending, AU is an AU which takes the characters of a given canon and transfers them to a generic or original setting based on a specific genre. These are most commonly fantasy AUs, sci-fi AUs, or modern (realistic fiction) AUs. These AUs may or may not retain many or most of the original canon's story beats and plot elements. Often, however, these elements are translated through the lens of the new genre to take a new shape. For example, a character who's original fantasy story and saw themselves locked in a tower with a dragon, may find themselves in a modern AU with an overly protective parent who's installed way too many parental controls on their computer, phone, or living space. 

A subcategory of the genre AU is the trope AU. These are some of the most common AUs, which take the characters of a given canon and move them into a well-established environment. (Note: this environment is not created by another canon property. Those are considered a type of crossover.) These include coffee shop AUs, high school AUs, or soulmate AUs, and fusion AUs (more on this last one later). 

The Home Grown AU

These are AUs which alter a story or character canon based on ideas or headcanons unique to the canon it alters.  There are two major categories of this:

First is the canon divergent AU. This AU follows canon story lines up to a specific point, where it branches into a new string of events based on certain events playing out differently than they did in the original canon. This could be based on a character making a different decision, or a previous plot element no longer existing, or a new plot element being introduced. Longer canon divergent AUs either toss the canon series of events out the window for something entirely new; or become a kind of experiment on the butterfly effect, reaching similar canon plot beats but in different orders, with different results, and/or to different emotional effect. 

The second category is the reality twist AU. These AUs change a fundamental aspect of the canon world and let a story play out based on that change. These could include characters being born under different circumstances, or powers and authorities functioning in fundamentally different ways. Maybe there's a fifth Hogwarts house, or maybe a magical girl's powers hurt to use, or maybe Green Lanterns all permanently turn green. The world is at your fingertips. 

Crossover AUs

There are two different categories of crossovers, and we're going to start this section by having a short naming party about them, because one of them doesn't really have a name and the other's name conflicts with a specific type of AU which is referred to by the same name. 

The first one's easy, I'll be calling them classic crossovers.

The second category is traditionally called the fusion AU BUT because "fusion AU" also refers to a specific type of trope AU, we'll be having a short interlude here.

Fusion AUs

In 2013, a show called Steven Universe premiered. While it can't take the original credit for the concept or the idea (I don’t know what can, though I hear Transformers has a similar concept), Steven Universe popularized the concept of two characters being able to merge their minds and bodies into a single, new, individual. AUs which incorporate this idea of characters being able to do this do not always incorporate the mechanics by which Steven Universe goes about it, and therefore I classify fusion AUs of this kind as trope AUs, unless explicitly put in the Steven Universe universe. When a fusion AU comes up in conversation without clarification, in modern fan-talk, a typical interpretation is that this is the kind of AU being talked about. 

However, "fusion AU" has, for much longer, been a term used to refer to a certain kind of crossover AU. These crossovers take characters from canon A and transplant them into canon B. For the sake of clarity, moving forward, I will be calling this category of AU (the second category of crossover AU, as mentioned above) transplant AUs. 

With that out of the way, we can go into greater detail. 

Classic Crossovers

The first category I will be calling the classic crossovers. These are the kinds you typically get out of TV shows and movies. In classic crossovers, story-lines and characters stay within their own individual canon and then meet another's canon on the same level. This can happen through the two worlds existing in the same setting all along, or through travel between two universes in a connected multiverse. Classic crossovers include the likes of the Avengers movies, or DCTV's CW crossover events, or some of those classic Disney Channel crossovers. Details of how these two worlds could exist in the same space may be glossed over, or pieced together where they overlap in order to fit the same space, but neither of these options fundamentally alter the canon. 

My own crossover fanfic, Heroes Under Drinking Age, is a classic crossover because it combines the worlds of the shows without altering the initial stories that their canon presented. 

Transplant Crossovers

As mentioned before, transplant AUs involve taking characters from one canon (canon A) and transplanting them into another (canon B). The types of transplant AUs discussed in this section have canon A's characters replace canon B's characters as the focus of the story. There are two kinds of basic transplant AUs: the framework AU, and what I affectionately call the hog wild AU. 

In a framework AU, the characters being transplanted from canon A take on the same rolls as the characters originally inhabiting canon B. This results in canon B's major characters being put to the side or eliminated. If you're making a framework AU, you'll ask yourself questions like "Which of the Harry Potter trio best embodies Luke Skywalker? Who, at that point, would be Leia? Who would be Han?" et cetera, et cetera. A framework AU will largely stay true to the plot beats of canon B, however a framework AU could just as easily go off the rails from the initial line up of characters and venture to new territory based on the new characters involved. At this point, the AU begins to resemble the second kind of transplant AU. 

A hog wild AU does not care to line up character roles from one canon to another. Major events of canon B's world may still take place, but the insertion of canon A's characters do not match up with canon B's original cast, and may consequently alter the world in new ways. Hog wild AUs treat canon B's set up as a playground for canon A's characters to explore, and to allow those characters to be explored in a new way by the author. In this way, these AUs share much in common with generic genre AUs, but the inclusion of a secondary setting with it's own canon solidifies the crossover classification. 

A hog wild AU may or may not eliminate canon B's characters entirely. If they do not, canon B's characters are far out of sight and do not appear within the new story. Transplant stories which include canon B's characters fall under another category,

Classic-Transplant

At the middle of the spectrum between classic and transplant AUs is another type of AU we can call the classic-transplant AU. These AUs transplant characters from canon A to canon B, but retain the characters and story of canon B. Maybe canon A's characters go through the story alongside canon B's characters. Maybe canon B's characters make minor appearances, implying that the new story with canon A's characters is influencing canon B's story. Either way canon B is not fundamentally disrupted by the inclusion of canon A’s characters.

The Fodder Effect

While I'm here I want to talk about a concept I've considered while thinking about transplant AUs: that is, good canon ends up becoming either character fodder or world fodder. 

Character fodder refers to canon which presents characters that are fun, well-rounded, and easy to move from world to world. Canon which can be considered character fodder is largely a matter of taste, but can generally be spotted by the size of the fandom and how prolific that fandom's spread of transplant AUs is. 

World fodder refers to a canon which presents a world which is so well-structured, fun, and inventive, that it's easy to transplant characters from anther canon into it's set-up. World fodder stories are easier to spot, as transplant AUs which use a world fodder canon's world as a model can be found across many, many, completely unrelated fandoms. The most popular world fodder story is probably Harry Potter, given that it has it's own AU title: the Hogwarts AU. Other examples would be Star Wars, or the Hunger Games. 

In Conclusion

This could obviously get even more complicated and I've probably missed a major category somewhere. Hopefully this can at least create some level of ease of talking about AUs, either when describing them to someone or when attempting to build one with someone an wanting to pick a category you feel the most comfortable writing from. For example, I do most crossovers as transplant AUs. From there I usually choose a framework style and refrain from going too hog wild with it. In other words, I tend to enjoy true framework transplant AUs. In canon divergent AUs, I also tend to prefer butterfly effect stories rather than tossing the canon entirely. In other words, butterfly effect canon divergence.

I hope this can be helpful for future AU discussion!

[weekendwritingmarathon]

This weekly roundup includes fics written (at least in part) during the 1k1h sprints and/or the Weekend Writing Marathon events.

Fics are ordered first by fandom, then by word count from smallest to largest.

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pie-rates require ransom for their captives by @tryslora

Check Please || Ransom/Holster || General || No major warnings apply || 748 words

Summary: “Ah, here be my band of pirates!” Holster calls out. “Dex the Red! Chowder the Cheerful! And Bitty the Small! Gather round, gather round, for we have captured the fairest of the fair, the Lord Ransom!”

Other tags: Puns, Coming Out, Outside POV

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The Amatus and the Altus by @dafan7711

Dragon Age || Dorian Pavus x Inquisitor Trevelyan (Pavelyan), Scout Lace Harding x Non-Inquisitor Trevelyan || Mature || Author chooses not to give major warnings || 153,630 words

Summary: When Karl Trevelyan falls from the Fade, his unconscious brother Leo cradled in his arms, he can’t remember why his hand is marked with green magic. Karl is thrown into the Chantry dungeon, accused of murdering the Divine and tearing a demon-spewing Breach in the sky. In their fight to save the world from the Breach, the Trevelyan brothers face many powerful enemies, and gain the friendship of the Inquisition’s lead scout and a Tevinter Altus. Can the future Bann of Ostwick live happily ever after with a dwarf commoner at his side? Can the Inquisitor find love with a mage whose ties to the Magisterium turn out to be not as dead as they thought?

Other tags: Pavelyan, harding x oc, child abuse survivor, brothers

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The Confectionary Job by @tryslora

Nailed It!/Leverage || Gen (background Eliot/Hardison/Parker) || Teen & up || No major warnings apply || 6,591 words

Summary: When Wes's older brother comes asking for a teeny, tiny favor, Wes knows that it's not going to be a small thing. It never is with Eliot.

Other tags: Crossover, Family

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holiday mash-up by @froggydarren

Queer Eye (RPF) || n/a || General || No major warnings apply || 1,525 words

Summary: They're not doing what they normally do. It's the twist in the episode -- like having it holiday themed is not enough -- to have each of them take of the others' role. Karamo can't help but wonder if this was a good idea. But at least it's fun.

Other tags: Episode Fic, Yuletide 2018, Fluff, Santa Claus

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Come and Save Me Tonight by @braezenkitty

Supernatural || Dean/Cas || Teen & up || No major warnings apply || 981 words

Summary: "Baby, you're my angel Come and save me tonight" Dean is a superhero who needs saving. Good thing his Angel is close by. Now if only Dean could figure out why he seems so familiar...

Other tags: Alternate Universe - Superheroes, Superhero Castiel, Superhero Dean, Superhero Sam, First Kiss, Secret Identity

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the correct number of beds by @tryslora

Supernatural || Dean/Castiel || Teen & up || No major warnings apply || 1,310 words

Summary: It's been fourteen hours in the Impala, with another sixteen to go tomorrow. All they need to do is sleep for the night. But every hotel and motel in the area is filled with a beauty pageant, leaving Dean and Castiel with one room and one large bed.

Other tags: Road Trip, Bed Sharing

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the one with the toys by @tryslora

Supernatural/Teen Wolf || Derek/Stiles/Jackson, Dean/Castiel || Teen & up || No major warnings apply || 2,281 words

Summary: Stiles is a Ken doll, Derek is a teddy bear, and Jackson is a plastic dragon. Dean and Castiel are hunting a possessed toy. What could go wrong?

Other tags: Crack, Crossover, Established Relationships

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all things new by @froggydarren

Teen Wolf || Derek/Stiles || General || No major warnings apply || 755 words

Summary: It’s a new year, a new start, a new house, a new everything. The fireworks light up the sky and Derek’s watching them alone, from the porch of his house, when he hears the familiar rumbling of an engine on the road through the woods.

Other tags: Future Ficlet, Post-Canon, Getting Together, New Year's Eve

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under the fairy lights by @froggydarren

Teen Wolf || Derek/Stiles || General || No major warnings apply || 1,588 words

Summary: Derek still can't really believe that he gets to spend his life with Stiles. That he gets to wear the mating mark on his hand. That they got to adopt two kids together and are raising them as their own. For all the pain that memories of winter holidays sometimes bring, this year, he's excited for the celebrations.

Other tags: Parenthood, Adopted Children, Mating Bond, Blanket Forts

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out of almost 300 boys, of course Derek Hale is The One by @tryslora

Teen Wolf || Derek/Stiles || Teen & up || No major warnings apply || 2,813 words

Summary: In which Paige learns of her cousin’s crush on her ex, says “just trust me,” and God help him, Stiles does.

Other tags: AU (High School), First Kiss, Ice Skating, Background Relationships, Paige is Stiles's cousin

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it doesn’t have to be a snowman by @froggydarren

Teen Wolf || Derek/Styles || General || No major warnings apply || 4,900 words

Summary: The Beacon Beans coffee shop is what Stiles would refer to as a lifesaver. They supply his dose of sugar whenever he needs it, they don't ask questions, and their hot chocolate is delicious. And now they're running a snowman building competition where the grand prize would get him an entire year's worth of drinks. Really, all he needs is a partner to team up with. Only everyone else from the pack already seems to have paired up.

Other tags: Holiday Fic, Snowmen, Fluff, Hot Chocolate

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needy cat by @tryslora

Welcome to PHU || Ángel/Tony || Teen & up || No major warnings apply || 710 words

Summary: Tony's a cat, and there are times when cats just need love. While Ángel is in the middle of doing an oil change on a truck is really not the best timing.

Other tags: Full-Shift Shapeshifter, Cats

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it’s okay to pause by @tryslora

Welcome to PHU || Gen (Mac & Pawel friendship) || Teen & up || No major warnings apply || 1,678 words

Summary: “You’re mothering me.” It’s petty and whiny and Pawel says it anyway, because damn it, he has this under control. He knows what he’s doing. “Maybe you need it,” Mac shoots back.

Other tags: Missing Scene, Canon Compliant, Friendship

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Not Your Love Song: Chapter 35 by @tryslora

Welcome to PHU || Rory/Kit || Teen & up || Author chooses not to give major warnings || 2,549 / 102,953 words

Summary: Early morning is always an awkward time for deep conversations, and yet, they happen anyway.

Other tags: Sleeping Together, Transgender Character, Asexual Character

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Missed Fortunes: Family & Friends 5 by @tryslora

Welcome to PHU || Carolyn/Serina || Teen & up || Author chooses not to give major warnings || 3,277 / 122,108 words

Summary: Carolyn wants Serina to see her. Really see her. Which means trying to properly explain something that no one else has quite understood before (including Carolyn herself).

Other tags: Demisexuality

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Have you posted a fic written at least partially during a WWM event? Submit your fic here by midnight EST Monday and it will be included on next Wednesday’s WWM Fic Roundup post.

[awildhanmonster]

More Ado about Characters:

Alright, now for round 2!  The following characters are all more one-offs and have no direct relation to each other quite the same was as Nell/Leonora/Barnes do, so let’s see if I can keep this under novel length.  

Remy Green, aka Remy:  17 years old in current canon, and still in the last leg of high school, Remy is, for lack of any better term, a reverse werewolf: perpetually stuck in the form of a gangly wolfdog monster on all nights save the brightest of full moons.  Originally just a “normal” human kid just trying to survive through graduation, her entire life wound up turned on its head when an out of control werewolf attacked and bit her while out with friends one night.  He was subdued and arrested, even later charged for the negligence and violent assault, but the damage had been done and the virus passed on— in the worst ways.

Remy essentially suffered the equivalent of a severe allergic reaction and anaphylaxis during the first shift, which took hours (normal were shifts should be minutes) and resulted in her parents frantically driving her to the ER in tears.  She survived, though the diagnosis— for a fragile kid with shaky self esteem— was, at the time, seemingly a fate worse than death.  Despite her form, she never seems to suffer the loss of mindfulness or weakened inhibitions of most werefolk during “peak” moon periods.  

Remy has since started learning how to cope with life in a new form she didn’t really want or ask for, and she has the full, unwavering support of her parents, though it’s still a lot for a teenaged kid to handle.  I’m pretty sure she wound up being pulled from high school and is trying to finish out her last year and a half or so at home, though she could really use some friends she doesn’t think are “obligated” to love her like her parents are.  I think she’s pretty lonely and dealing with a lot of depression issues.  Luckily she’ll fall in with Wayne at some point, who’s like a sweet (greasy stoner) older brother, and he and the rest of the Losers can adopt the hell out of her as a little sister and teach her how to not give a fuck about what humans think when you’re a weirdo.  She’ll earn her happy ending eventually.  

Rose Lund:  Absolutely 100% a retooling/transplant of one of my dearest, most beloved, super shitty/earnest self-insert characters as a 12 year old on Neopets and I have NO SHAME AT ALL.  Rose is a human mage (they do exist!) around 30 or so, a pale/skinny English-Caucasian mutt with green eyes, straight brown hair, and a penchant for fancifully extra looking dyed bang fringies because she’s stopped giving a fuck.  She’s one of those rare people who can strike up a conversation with just about anyone, blessed by a very… unique way with words that’s unintentionally contributed to her internet fame as a slice of life blogger about the day to day trials of pet dragon (well, wyrm) ownership.  

Rose has been passionate about rare and magical exotic creatures since she was a wee girl, and developed an obsession with dragons (‘wyrms’ being the correct term for all non-sentient varieties) before she was out of grade school.  In college she double majored cryptobiology and spell artistry, then upon graduation, acquired a pair of rare pygmy wyrms— from temperate and tundra subspecies— respectively, as pets, both for personal reasons and to aid in her pursuit of a master’s degree in cryptobiological husbandy.

Pygmy wyrms, it should be noted, are generally terrible pets.  While only growing to approximately the size of a house cat (10-12 pounds on average) and sporting the appearance of beautifully miniaturized mythological six-limbed dragons any fantasy nut would fall in love with, they are far from domesticated, exasperatingly precocious, and have the charming habit of expelling flammable gas from a myriad of orifices when startled.  They have a distinctive, vaguely musky sulfurous smell about them regardless of cleanliness and are just clever enough to ignore training commands when convenient.  Imagine giving a very ornery, very clever raccoon flappy wings with a several foot wingspan, feeding it rotten eggs, and strapping a flamethrower to both ends, then rigging it all with an excitable hair trigger.  That is a pygmy wyrm.  Rose owns two in an apartment complex: Ice Pack (Packy), who is a pale milk white/ice blue, and Sharky (Sharkbite), who is black and burgundy/red.  

Needless to say they’re the loves of her lives and she revolves around them, having garnered a massive internet following thanks to her daily posts about their antics and the realities of exotic pet care.  They’re harness trained now and reasonably polite, though this is only due to years of hard work and constant reinforcement.  She hopes one day to breed more biddable specimens and help contribute to the conservation of the species worldwide.  Also, they’ve made her very good at anti-flammability hexes.  

Shun —: known only by her first name, a kitsune who moved into the apartment complex fairly recently with her pet pipe fox, Yuzu.  It should be noted that kitsune are particularly long lived among mythicals, though how long exactly that is tends to be hotly debated and unknown by all but the foxes themselves.  What is known is how they are extremely slow to age after reaching their peak maturity/fitness, with certain individuals reported over 500 years old and, apparently, showing very little of their age beyond a massive swath of grown tails (nine being the highest on known record).  Kitsune typically grow to around 30-40 lbs, outwardly resembling a much large. leggier, more willowy silhouette than traditional foxes, and will begin life with a single tail that splits or “buds” and multiplies over time.  

Neurologically they are fairly unique among mammals, possessing a kind of distributed intelligence throughout the body that can give the tails a “mind of their own”, so to speak, in much the same way as octopi or other related cephalopods do.  In fact, due to the extremely slow rate of cell death/turnover, a severed kitsune tail will continue to move and attempt “functioning” for weeks, even years by some reports, under correct conditions.  Which I’ll get into shortly.  

Swerving back to Shun herself, she’s an artist by trade who zigzags between traditional and digital freelance work for a living.  Conservation of mass is still in place for humanoid shifts— which all kitsune can voluntarily assume— with predictably small, delicate, androgynous bodies that rarely get above 4’5’’ or so in stature.  Features like pointed ears or slit pupils/exposed tails can be morphed or shown as desired, though the chronic perception of being childlike or “cute” regardless of how old they are is a pretty common occurrence.  Shun is no stranger to this either, and hates shopping for clothes at non-mythical-specific places because she has to do so in the *really* young children’s department for anything to fit.  

Back on the subject of pipe foxes, though— Shun is a kitsune with 3 and 3/4 tails.  She had an unspecified accident several years ago in which she lost the final quarter of her fourth tail, but managed to retrieve the piece after several weeks of searching, at which point it was already trying to become a pipe fox.  Pipe foxes (at least in this world) are the result of a severed kitsune tail’s survival instincts going horribly wrong (or right) and attempting to restructure themselves for survival, and the amount of tail there (i.e. how much was separated from the body) will determine what becomes of it, though the “starting” process is pretty identical no matter what you do.  

If a severed piece of tail has no food, eventually, with time, it will die.  If, however, you keep it somewhere safe (like a drawer) and you present it with food (which could be, I don’t know, a chicken leg), it will sense it, and you will see the start of a small, gaping fanged mouth begin to grow from the stump.  Once this has formed, the tail will wriggle itself to its prize and devour everything it can, sustaining it.  Keep feeding the tail and it will continue to grow legs, organs, features, and a face— though not necessarily in that order.  Eventually, you will have a small— usually mouse to rat sized— beautiful white magic fox, prized heavily by black market collectors for its splendor and apparent luck giving properties.  A true quarter-tailed pipe fox will live somewhere between 5-40 years, unpredictably.  The distributed intelligence of the tail will reform/conglomerate into a brain relatively on par with a modern pet dog, possibly smarter (or much dumber) depending on your luck.  

If, however, there is MORE than roughly a quarter tail chopped off, with more of the nervous tissue and mass intact, the pipe fox resulting may appear larger and more robust.  Many exotic buyers have been lured into purchasing these creatures from traders without realizing, and years later the unlucky recipient will find their precious fox’s skin suddenly flaccid on the ground like a shed cocoon, having erupted into 75 tinier pipe foxes that will summarily swarm the accessible property to spirit off with literally anything they decide is valuable, never to be found again, often raging like an infestation for days or WEEKS before vanishing forever.  

Rumor has it that feeding an entire severed tail will result in 75 tiny pipe foxes bursting forth from the cocoon shell that will each burst into 75 more bug sized foxes each, resulting in a plague of nigh biblical proportions.  But that’s never actually been confirmed on record.  

Needless to say the kitsune have a lot of protocols for dealing with severed tails and will usually destroy half-formed pipe foxes of unknown origin on the spot.  Shun keeps Yuzu as a pet due to being intimately aware of the little rat-sized creature’s origins, and she still had to sign SO many extra insurance papers and wavers before the complex would let her move in.  

I am not good at keeping it short, am I?  Wow.  Well, there you have it!  I’d be happy to answer any extra stuff I forgot too if someone has a question.  I do love these nerds.  

[thenugking]

gayspacejew said: Please…i need details??

I mean I am always happy to go off on “what the fuck even was dragon age legends?” so sure. Its a flash based game that was originally available on facebook, around the time da2 came out. It got shut down because it was Terrible and is now available to download for free online. I never played it when it was on facebook but from what Ive heard, it was Even Worse back then. You have a large party of companions to help you fight countless enemies on map after map and apparently, when it was a facebook game, you were only allowed to use them once before they went on a long cooldown, and the rest of the time you had to get your friends to help you fight. I can;t imagine playing it back then because Id rather not lose all my friends, and honestly? constantly trying to get your friends to play dragon age legends with you is a recipe for losing all your friends.

Anyway the actual game is primarily a turn based combat game as you travel to save this guys son from, idk, something I guess, and occasionally make decisions which have no lasting impact on anything along the way. Also sometimes the game tells you “well if you go one way you can save that village, if you go the other way you can rush onwards” or whatever, but?? doesn't actually tell you which way is which?? But the vast majority of the game is just fighting through maps that get bigger and bigger, with more and more waves of stronger and stronger enemies. Which like, on the plus side, almost every time  plot comes up it breaks lore or contradicts canon but I really cannot stress enough quite how long and tedious this game is.

I mean, look. I expected to get through this game in a couple of days at most. And I enjoy turn based combat so that was cool. And since theres not that much plot I can turn on music while I play! After many hours when it was getting really tedious and I realised I still had a Lot more I began listening to the audiobook of Harry potter and the order of the phoenix while i played. And then to Half Blood Prince. By the time i finished Deathly Hallows, the end was almost in sight. It took maybe ten more hours to get it finished. And I gave up completing 100% of the maps somewhere in order of the phoenix.

So, moving on to the premise of the game, I guess. At the start, theres a little video of a boss fight against the Viscount of the city state of Kaiten, who turned out to be an abomination, that happened 12 years ago, with the main characters of the game. And like. I am fairly certain that these characters started off as someones rpg party, and then they went and made a flash game out of them. These characters are:

Ravi. The nephew of Viscount Abomination Guy and the current Viscount of Kaiten. Hes a templar, apparently. Except he never uses templar powers, despite that being a specialization in the game and shows zero interest in ever controlling mages. Several of the  party members are mages who just have their own little castles and towers, and at least one is canonicaly an apostate. Also Ravi is meant to be your mentor, which I didn't realise until a character said it  part way through the game.

Iselle. A Dalish blood mage who is dating Ravi. Like, he was dating her and then decided to become a templar and?? Ravi do you actually understand what templars are meant to do?? I have no idea what they saw in each other at All. I think the writers just wanted them to have a Forbidden Romance. Anyway, Iselle is the only member of the original party not to appear in the game because she got fridged and died giving birth to Ravis son. Shes also the only woman in the original party. Their son Eiton is tranquil from birth, which is Not A Thing in dragon age. (It turns out later that theres more going on than being tranquil, but spoilers if you're ever actually interested in playing this hell game. The stuff going on still breaks Dragon Age lore though.)

Sendis. The one good thing about this game; Sendis spends all his time snarking about Ravi and I love him. Hes Iselles brother and spied on her and Ravi to make sure Ravi wasn't hurting her, because he is aware that humans suck and templars in particular suck. When you first meet him, you have to kill his possessed clan, because apparently “genocide a dalish clan” is the one bit of Dragon Age “canon” Legends did decide to stick to. Sendis reminds you these are his family and friends you're killing, but theres no option to actually stop or like, comfort him at all. Also neither he nor Iselle have vallaslin. The random dalish elves you have to kill do, but not the two main Dalish characters.

Lukesh. The Wise Old Mage Mentor stereotype, complete with long white beard. He lives in a hut in the wood with Eiton to keep him save. Why did Ravi decide his son would be safer living in a hut in a forest rather than his big defensible castle, with only a mage whos probably an apostate Ravi should have arrested by now for company? Fuck if I know.

Tovez. Tovez is a ginger dwarf who fights with a two handed axe, has the battle cry “meet my axe!”, loves alcohol, is a bit of a dick but a good guy Deep Down, is disliked by a lot of Orzammar, and is the only person there who wants to go to the deep roads to find a missing paragon who went to find the anvil of the void, which they became obsessed with. I honestly dont know how bioware even let Legends do that.

Other companions sometimes get introductions when they turn up and sometimes just appear in your party with no explanation. They include a friendly talking darkspawn called the prankster and who I can only assume is Avelines evil twin, who is pretty much identical to her but left the Kirkwall Guard because she was too Edgy or something, and now hates them. Also if you buy rooms for them in your castle, you get Morrigan, Shale, whitewashed Isabela, Barkspawn, and a Drake as companions, and the downloadable game gives you default male warrior hawke. Theyre all just?? There for some reason.

Later in the game it turns out that the city state of Kaiten is???  part of the city state of Kirkwall. And Im fairly sure someones castle teleports. Theres another Circle in Ferelden thats full of Dragon cultists. At the start of the game, you get two potential companions who want to kill each other (one might be based on Sebastian??) and you have to Choose One, but later on you just have them both and they just?? snark at each other a bit. Some companions are always just several levels above others so theres no point ever using some of them. Theres a load of Novelty costumes your character can find or buy with in game money, like “dress in a gorilla suit” and “just fucking go into battle with a darkspawn sitting on the shoulders”. Idk man, this game is a fucking trip.

[celestialarcadia]

Dear Chocolatier

This ended up kind of long. I really hope this doesn’t come across as too picky! While I’ve included prompts and general rambling, I can’t predict everything that I’d be interested in--so as long as your idea doesn’t fall under my DNWs, I’ll be happy to read whatever you come up with! This is mostly geared towards fic, since I’m not very good at talking about art, but I’d also be ecstatic about art fills. Full letter under the cut. (Note that I missed nominations, so I was limited to whatever was in the tagset; not all of my favorite relationships in these works are represented.)

What you need to know about me is that most, if not all, of my favorite pairings include some element of opposites attract. I’m not sure that’s the right phrase to use, since it’s often not literal opposites that attract me to a pairing. What I love is when characters have some sort of large difference(s) between them that is impossible to ignore, requires there to be communication between the members of the pairing, and (this is the big one!!) all the members of the relationship love each other in part because of the differences between them as well as recognizing the similarities they have. It’s a bit hard to explain in words, but I hope that helps. To use examples from the pairings I’ve requested: human/elf, human/alien, alien/different alien, human/robot AI, mage/warrior, warrior/diplomat, witch/fairy, angel/demon...I let out a dreamy sigh just typing those out, which should explain how much I love this trope lmao.

I want happy endings. There’s a place for tragedies, but I need to be in a very specific mood to gain satisfaction from them, and right now in my life I can’t really appreciate them much. I generally prefer a “happily ever after”, but “happy for now” is also acceptable (and is more appropriate for several of the pairings on this list). While I enjoy fluff, I’d also be happy with something more dramatic as long as it ultimately has a HEA/HFN. I’ve enjoyed hurt/comfort, but I usually prefer them to be heavy on the comfort.

Regarding smut: I’m fine with or without it. I’m asexual and porn does nothing for me sexually, but I can enjoy erotica, even PWPs, as an exploration of intimacy between characters. (Not necessarily even romantic intimacy--I’ve enjoyed smut about friends with benefits.) Stuff I enjoy in smut: blindfolds; body worship; bondage; cunnilingus; edging; facesitting; femdom/malesub; gentle domination; intercrural; mirror sex; multiple orgasms; mutual masturbation; pegging; praise kink; service topping; vibrators; wax play. And if the scene goes into BDSM territory, aftercare!

However! I am also a very, very big fan of non-sexual intimacy. Kissing, hugging, cuddling, spooning, literal sleeping together, massages, holding hands, words of affirmation...I could go on and on. Love it all. If you headcanon a character in a requested pairing as asexual, go for it!

Special shoutout to characters bathing together (preferably in a very large bathtub or similar body of water). It can easily lead to sex, and I don’t mind if it does, but I almost prefer if it doesn’t cross that line.

General DNW: 24/7 D/s, A/B/O, abuse between characters in requested pairings, ageplay, amnesia, ass to mouth, BDSM society AU, bestiality, bloodplay in settings without magical healing, breathplay, cancer, canon bi character portrayed as straight or gay, canon gay character portrayed as straight or bi, cheating/infidelity by character in a requested pairing, crossovers, daddy/mommy kink, death of a character's parent(s) as a major plot element (references to canon parent death OK but try not to linger too long on it), describing genitals of any kind as "weeping", dub-con, eating disorders, enemas, explicit underage, fake relationship, feederism, fisting, guro, hatesex, humiliation kink, incest, inflation, kidfic (canon kids OK but I'd rather not have a fic centering around them), lactation kink, love triangles, maledom/femsub, necrophilia, nipple clamps, permanent death of a character in a requested pairing, petplay, plots centered around prejudice or -isms, pregnancy, rape/non-con, rape roleplay/consensual non-consent, reader insert, rimming, scat, school-related AU, self-harm, sex in public places, soulmates AU, sounding, spanking, vore, watersports/omorashi, zombies

Some of these fandoms/pairings have more written about them than others. Please don’t take that as an indication that I’ll be disappointed if you pick a pairing or fandom I’ve written less about here--I really will be happy with any of these pairings!

Cinderella Phenomenon

(Psst...this is a free game...consider playing it?)

Delora/Parfait: I didn’t consider this pairing until I saw it in the tagset and now I 100% ship it. Love me a goth witch and pastel fairy couple. I’d like to see them negotiating around the drastically different perceptions of witches and fairies in Angielle. Or maybe something a bit fluffy, like sharing a stolen moment away from the Marchen, or just taking a break from the trials of everyday life.

Pairing-specific DNW: Work set during/after Rumpel’s, Waltz’s, or Fritz’s routes

Lucette Riella Britton/Karma: While I enjoyed the game as a whole, I think Karma’s route was my favorite. For all his eccentricities, Karma recognizes Lucette’s terrible upbringing and how it affected her before the other characters do, and the fact that he’s a prince means that you can get up to some really nice royal intrigue and politics with this pairing. (Also, I wonder--does Karma continue to wear dresses after his curse is broken, just for the fun of it?)

Pairing-specific DNW: Explicit smut (fade-to-black is fine)

Dragon Age

Fandom-specific DNW: Warden/Hawke/Inquisitor sides with templars, rivalmances for DA2 LIs, Cullen as major character

Alistair/Male Surana: Oh, Alistair, my first DA love. Even though he never actually became a templar, he was still trained as one, and I think that could cause some issues in a relationship with a mage. And being an elf mage? Whew. Even though I don’t want something where Alistair becomes king, I’m fine with something where they discuss the possibility of Alistair becoming king, as long as they ultimately decide not to put him on the throne. You could also do something set after DAO/Awakening, where both are active Wardens--maybe they’ve been separated for a few months for Warden-y reasons and they’ve just reunited?

Pairing-specific DNW: Alistair as king, Loghain recruited into Wardens

Fenris/Hawke: Any gender Hawke is fine (I just have m!Fenhawke tagged because it was in the tagset). My Hawke is female, but feel free to write male or nb Hawke; my Hawke is also a mage, because I like the idea of them falling in love despite the tension that causes between them--but if you’d rather write a warrior/rogue Hawke, that’s also good. (If you want to include specific details about my Hawke: she’s named Samantha, specializes in healing, and is mostly purple/joking with a blue/diplomatic streak. I headcanon her as asexual even if it can’t really be replicated in the game. But I’ll be fine with whatever Hawke you choose to write.)

Zevran Arainai/Warden: Like with Fenris, I’m not picky about which genre or origin you pick and only put in the tags in the set for matching purposes. My Zev-romancing Warden is a f!Brosca, but if you prefer another gender/origin, do whatever you want. These two are my favorite enemies-to-lovers pairing, in part because Zevran never had any hard feelings for the Warden in the first place. (And the Warden telling Nathaniel “Some of my best friends have attempted to kill me” during Awakening gains a whole new level of hilarity with romanced Zev.) Zev comes across as a devil-may-care flirt, but he turns out to be a respectful lover if you actually put the effort to get to know him beyond surface level. (Also, that cool-ass Crow armor from the World of Thedas artbook. A+)

Female Lavellan/Josephine Montilyet: Josie! (｡♥‿♥｡) And I romance her with a f!Lavellan, so it’s a nice coincidence that this was in the tagset lol. I’ll be good with just about anything you come up with for this pairing. Josephine is one of the few non-Dalish characters who at least tries to be respectful of Lavellan’s Dalish heritage, even if she is a bit clumsy about it sometimes. My Lavellan is a lesbian mage named Ilena if you’re interested in including those details, but I’ll be happy with any f!Lavellan.

Josephine Montilyet/Cassandra Pentaghast: Fun fact--I ship this because of a bondage fic I read lmao. They have a very interesting dynamic--a warrior who kills on a regular basis (even if for a good cause); a diplomat who has renounced violence. I won’t be picky about anything for this pairing, either.

Good Omens

Fandom-specific DNW: Reverse AU (I don’t mind these but I’m not interested in receiving one), Aziraphale falling, smut involving Crowley’s snake form, work set before Crowley’s fall, strict top/bottom dynamics

Note: I’ve read the book and watched the series. I’m fine with stuff set in either canon (hence why I requested both). If you want to combine elements from both, that’s cool too.

Aziraphale/Crowley: My most recent love. I have lots and lots of feelings (at least a billion) about these two. Enough that I have a goddamn LIST.

I’m fine with any combination of genders/presentations/efforts/pronouns for these two. I headcanon Aziraphale as being agender with he/him pronouns and Crowley as genderfluid, but again, anything works. Lately I’ve adored fics and art of butch female-presenting Aziraphale, too.

Chubby Aziraphale!! I love!! So much!! Dovetails very well with my interest in body worship (sexual or otherwise). Crowley loves his soft angel!! So much!! And! So much cuddling potential!! (More serious note: I’m not a huge fan of stuff where Aziraphale is extremely self-conscious about his body. Surely he’d miracle himself a different shape if he hated it so much? And he’s been around for millennia, so he’s witnessed beauty standards change drastically over time. It makes more sense in human AUs, but it’s still something I tolerate more than enjoy.)

I’m a big fan of “Aziraphale and Crowley through history” stuff. Pick a time period you like and go wild. Personally, I have a huge soft spot for the 1920s--Crowley would look amazing in a flapper dress. (Realistic or Hollywood-style, take your pick.) (I know that according to the TV script they didn’t see each other between the fight at St James and the church scene, but...bah. Flapper Crowley!!) Some great opportunities for mutual pining, or if you want to write an AU where they got together before the Notpocalypse, go for it.

I have a big soft spot for stuff where Crowley is in his snake form (no smut, please--if the story turns that way I want him in his human form for sex)

I will never ever get tired of “first love confession” or “first kiss” stories for these two because I am a romantic sap who just wants them to be happy (they’ve spent so long not being able to be close to each other! they deserve it!!)

Outsider POVs: “random normal person weirded out by bizarre relationship between fussy bookseller and his goth husband” is one of my favorite fandom tropes

Praise kink! I mentioned this in my general smut likes but it bears repeating here. The major fanon is Crowley having a praise kink, which is wonderful and valid (tfw your crush calls you nice and it turns you on so much you try to play it cool by shoving him against a wall). I’ve seen some stuff recently with Aziraphale having a praise kink and now that’s an idea. (He’s spent so long just wanting to be good for Heaven! Even though Heaven’s standard for what’s good is kind of terrible and they hate him anyway so he’d never be good enough for them! But Crowley knows that Aziraphale is good and he’s more than willing to tell him every little thing he loves about him! aaaaaaaa) Regardless of who has the kink, I think they’d be a bit embarrassed at first at having it found out (Crowley: “Being turned on by compliments? C’mon, that’s not me” [it’s totally him]/Aziraphale: “It’s...a bit selfish, isn’t it?” [but since when has that stopped him]), but the other would be more than willing to indulge. (And while Aziraphale is naturally suited to provide praise, given how good he is with words, I think Crowley could grow into the role too, in his own way.)

Heart of the Woods

Tara Bryck/Morgan Fischer, Abigail Dalsing/Madison Raines: I put these two together because they’re so intertwined in the original game, but if you want to focus on one pairing over the other, that’s great! Something that really interests me would be seeing how Morgan and especially Abby would react to the...idiosyncrasies of modern-day America. Also, Abby being introduced to the internet could be hilarious. (Also also, Morgan getting to live her best butch life, and Tara being her slightly overly enthusiastic cheerleader.) On a more serious note, how does Maddie move on after leaving Taranormal?

Lake of Voices

(Psst...this is also a free game...consider playing it too?)

Kikka/Margret: I’m less interested in fluff for this pairing thanks to how dark the original material is, but I’d still rather not have something totally grim. Margret’s route isn’t truly romantic, not really, but considering the short period of time the game takes place during, that’s not surprising--so I’d like to see how their relationship progresses after the events of the game.

Mass Effect Trilogy

Fandom-specific DNW: Sabotaging the genophage cure; Control/Synthesis/Refusal endings; synthetics dying in Destroy ending (yes I know this is canon, no I don’t care; please don’t do post-ME3 if you aren’t willing to work around this); dead Wrex; no peace between geth and quarians (for ME3)

Female Shepard/Garrus Vakarian: While Shakarian isn’t my favorite ME pairing, I do still love it. No Shepard without Vakarian, after all. They work so well as a battle couple and have such great chemistry. My Garrus-romancing Shepard is a Paragade Vanguard named Elliott, Earthborn/War Hero if you want those details.

Female Shepard & Mordin Solus: Death DNW doesn’t apply to this one; hit me with all the feels over Mordin’s death (I don’t like what you have to do for him to survive). Or avoid the issue by doing something set during ME2. Alien Sex Ed is always a classic trope, or something more serious regarding Mordin’s past as an STG operative or his work with the genophage.

Grunt & Female Shepard: Shepard is very proud of her strong krogan vat bby.

Kolyat Krios & Female Shepard: With or without Shep/Thane (”YOU’RE NOT MY REAL MOM”), either works. If there’s romance, how does Kolyat react to his missing dad showing up with a human girlfriend? Does Shepard try to become a part of Kolyat’s life or does she try to stay out of it? There’s less reason for Shepard to get involved if there’s no Thanemance, but I think there’s still opportunity there, since Kolyat and Thane keep in contact after the loyalty mission is completed.

Pairing-specific DNW: Thane dying

Thane Krios/Female Shepard: My favorite ME pairing! At least until BW fucked it up in ME3. (I still kind of haven’t forgiven them.) They have a very mature relationship, I think--both of them a bit weary--and they find solace in each other, at least until the inevitable. I would prefer a fic set during ME2, or in the time period between the end of ME2 and Shepard being detained before ME3. If you want to make something set during ME3, I’d like to see him receive treatment (not necessarily a cure, though I won’t complain if you go that route, but preferably something more realistic than “oh I took a pill and now I’m all better!” or similar) for Kepral’s. I also don’t like the defeatist “well, I guess I’m just gonna lay down and die now” attitude he has when you meet him at Huerta in ME3; it clashes so much with his entire ME2 arc, which has him realize that he does still have things to live for (his son, for one, and Shepard if you romance him). If you’re interested in details about my Shepard: her name is Diana; she’s a Paragon Infiltrator, Colonist/War Hero.

Pairing-specific DNW: Excessive focus on his illness (I know it’s a big part of his character, and I don’t expect people to avoid it entirely, but I don’t enjoy stuff that’s centered totally around it); Irikah bashing or trying to portray her as unimportant

Nyreen Kandros/Aria T’Loak: (STILL SCREAMING ABOUT BADASS TURIAN LADY) I want to see something from when these two were still together, or a fix-it where Nyreen doesn’t die and she and Aria enter a (possibly uneasy) truce. Less concerned about happiness for this one as long as neither of them dies; I’m fine if it ends up that their relationship just doesn’t work out.

EDI/Samantha Traynor: Geeky lesbian with a robot kink + sexy fembot = ooh la la. On a serious note, how would a human/AI relationship work? There’s a lot of possibilities here.

Stardew Valley

Fandom-specific DNW: Player siding with Joja-Mart

Abigail/Female Player, Elliott/Player, Leah/Female Player, Maru/Female Player: I’m putting these together not because I think they’re interchangeable (they’re not), but because what I want is basically the same for each of them--slice-of-life about the farmer and their partner (either dating or married...or dating then married; no kids please), with emphasis on how the partner’s personality and lifestyle meshes, or doesn’t mesh, with the player’s farm life. Maybe there’s conflicts that have to be resolved, compromises that have to be made. (But I do want them to eventually work it out and be happy together.) If you pick Elliott/Player, I’m fine with whatever gender farmer you want.

Sweet Fuse: At Your Side

Inafune Saki/Meoshi Kouta: One thing I enjoyed about Meoshi’s route is how he doesn’t have to give up games entirely in order to deserve love and improve as a person, he just develops a healthier relationship with gaming. I like the idea of Kouta participating in a fighting game tournament with Saki cheering him on...or maybe he taught her how to play and she’s a competitor too now? DUN DUN DUN. (but it’s all in good fun)

Pairing-specific DNW: Explicit smut (fade-to-black is fine)

Original Work

Dethroned and Dishonored Queen/Lone Loyal Female Knight

Lady Locked in a Tower/Lady Who Turns Into a Hawk

Female Werewolf Hunter/Her Boyfriend Who Gets Turned Into a Werewolf

Female Tall Muscular Badass/Female Short Chubby Nerd

Hiker/Sporty Girl Who Sprained Her Ankle Miles from Nowhere

Grumpy Lonely Sorceress/Female Courtesan She Hires for a Ritual

Female Witch/Female Werewolf

Female Witch/Female Demon She Accidentally Summons

Female Knight/Female Bath Attendant with a Crush

Female Gamer/Female Bookworm

Female Court Painter/Impatient Princess Sitting for a Painting

Female Armorsmith/Female Warrior Who Needs Frequent Repairs

Female Adventurer Lost in the Snow/Female Fire Spirit

Male Speakeasy Bartender/Male Speakeasy Piano Player

Librarian/Her Monster-Hunting Wife Who Keeps Dragging Her Into Wacky Supernatural Adventures

Sensible Royal Guardswoman/Arrogant but Skilled Court Sorceress

Dark Mage/Light Mage

Beleaguered Playwright/Actress Cursed to Ruin Any Show She’s In

Female Vampire/Female Vampire Hunter

Victorian Lady/Victorian Lady

GO WILD. Just don’t hit my DNWs. For the pairings that don’t specify the genders of both members, I’d prefer f/f works.

[lambofthelions]

This might be an odd question but I want to make one of my characters less of a Mary Sue and I was wondering if you had any tips on doing so.

(HO BOY. At least you came to the right person.

So I’m going to tell you something you might not want to hear. Some people, no matter how much research, effort, time, and re-writes you put into a character, will call your character a mary-sue. Vanya has been called a Mary Sue before, and I have spent YEARS on research and very careful character building. The term gets thrown around a lot, even when the characters themselves don’t deserve the title. I have written real mary-sues, TERRIBLE, JAW-DROPPINGLY BAD mary-sues, and I’m a little less liberal with the term because of it.

The modern Mary Sue has changed dramatically since I was a teenager. Back then, the Mary Sue was more innocent. Her parents were killed or eaten by wolves, she was an orphan, her hair was weird colors and hr eyes changed depending on her mood. She had half a dozen wildly colored pets, mostly unicorns or other beasts indicative of her status. She was both sexy and naive, virginal and chaste while wearing a cotton ball’s worth of cloth. The ‘Purity Sue’ (A saintly character that can do no wrong) was far more common than not. The Gary Stu, her brother, hasn’t changed much since then. He’s still as broody and backwards as ever, usually a male power fantasy taken to the Nth degree. These days, a Mary Sue is a bit more...broken. Her backstory has gotten darker, she’s now saddled with 15 different mental disorders, she cuts herself, her parents either sold her off into child slavery or sexually abused her until she ran; yes, I realize that these things happen in real life, but your average 13 year old suburbanite teenage girl writing fanfiction about her Purity sue character redeeming Loki and having his 6 bastard babies hasn’t experienced world-altering trauma like that.

This got long, so I’ve put it under a cut.

Research your canon, and obey its rules. Making your character slide seamlessly into the canon, no matter what canon it is, is the most important thing you can ever do for your story and your character. You, by making this OC and putting them into the canon you’re writing for, are altering the make-up of that world. If a world doesn’t have wildly colored hair as a commonplace thing, don’t give your OC wildly colored hair. If elf ears aren’t common, don’t give your character elf ears. Making connections to canon characters, such as making a North Ireland OC the younger brother of England, alters it further in the mind of a potential reader. Readers are fickle, and unless you blend that character into the world they’re altering, they won’t give your story a chance. Let’s take Hetalia, for example. A character that is a region in south-eastern Spain that harbored a low-key crush on Turkey during his Ottoman days, and imitated his tilework to try and catch his attention? I’d buy that. It ties into canon as well as having historical backing! Hell yeah, gimme dat. A character that is a spanish half-dragon that became Turkey’s harem girl and bore Cyprus as his quarter-dragon spawn? ...Nah. 

Don’t use rape as a backstory. I didn’t think I’d ever have to say this, but this is so unbelievably common these days that I have to. Rape as a story element has to be treated like the literary nuke that it is. It will take any narrative you have and bring it to a grinding halt, and very few people have the wherewithal to write about it correctly. Bennett the Sage had a great discussion on rape as a literary device. Check it out on youtube.

Find a niche and exploit it. I don’t need to tell you that there’s holes in canon storylines that are glossed over by manga writers or TV show exec’s. It’s easier for a reader to buy a character that’s connected to the canon tangentially than it is a character that crashes into the story headfirst. I wrote an entire group of semi-nomadic people for the Naruto canon once by doing this (Iwagakure-based mountain cliff-dwellers that had re-breathers shaped like ram skulls, it was neat), and any canon with a decent amount of world-building can have the same done to it. If you’re willing to side-step the main story, you have a little bit more freedom to play around with.

Use restraint, and use canon as a measuring stick. This one is obvious. It can be tempting to give your character powers that are technically found within the canon, but unless its relevant to their character and would build the story further without disrupting canon, don’t do it. Little things, like giving a marvel character natural super strength and a piston-powered rocket punch is fucking COOL. I’d want to read about the misadventures of a teenager getting used to super strength, and needing an exosuit to restrain their powers! Giving them super strength that’s better than Hulk’s, bigger brains than Tony Stark, super speed faster than the flash, probability manipulation like the Scarlett Witch, and mind control powers better than Charles Xavier’s with none of the drawbacks? You’ll break the canon down around your character. ...that, and you’d be a god-moder, and NOBODY likes god-moders.

Characters do not have to be ‘unique’ to be interesting. Sometimes people have an urge to make their character exceptional, special, or that breaks and shakes the foundations of the system they’re in. You want to stand out, that’s understandable. You can have a character that just wants to b a better painter, and that would make a better, more realistic story than a character whose paintings talk back to her. There’s nothing wrong with making a character that slides into the background. Hell, I did that with one of my first Hetalia OC’s, @disgruntled-dogmusher. She’s a state. She slides into the background very easily, and isn’t part of large-scale world events. That’s fine! She has her own shit to deal with, and I never run out of things for her to do.

Ask yourself, ‘Why?’ every so often. This one is super simple, and it’ll keep you from making mistakes. ‘Why does this mortal character have a child with Canada?’ Oh, right. Human AU with World War I as a setting about coping with PTSD and outdated societal expectations of masculinity; That checks out. ‘Why is this mortal character Canada’s incestuous lover with semi-mortal twins while simultaneously being England’s child and secondary love interest?’  If you can’t answer ‘why’ or ‘how’ when it comes to a major plot point, or character trait, can it. Don’t use it. It’ll destroy the reader’s suspension of disbelief.

The mary sue isn’t a litmus test, it isn’t a score card, and it isn’t a series of definable traits. It’s a disconnect between the reader, the writer, and the canon. Think of Sasuke, a textbook canon sue that the western audience HATED. He started out likeable enough, albeit shoe-horned in because the editors thought Naruto needed a rival. He was the typical, run of the mill shounen broody rival staple, and usually those mellow out and blossom into their own characters as time goes on. He spiraled out of control as the series went on, and we all started eyerolling when a new power popped up when he conveniently needed it. We, as the western readers, stopped caring about him. If you pound how awesome your OC is down the reader’s throat enough, they’re going to hate your guts. Tone it down a notch.

Don’t be discouraged. You’ll improve. You’ll become a better writer. You’ll learn and take away helpful criticism. Sometimes, readers are wrong entirely about a character, and will be hateful, vindictive pieces of shit for literally no reason, or just because your OC ‘gets between a ship’. The Harry Potter fanfic community was RIFE with this sort of shit for ages, and from what I heard, still is. With Hetalia, modern Hetalia at least, it’s an uphill battle from the get-go. You’ll be lumped in with people that make up nations and throw lightning bolts from their hands, or use painful real-world events in history to justify their OC ship. If you’re a female character AT ALL in Hetalia, you’re going to get accused of being a Mary Sue. Sometimes, it’s just going to take time. Maybe they’re wrong. Maybe, you’re wrong. Just keep trucking, keep adjusting, and eventually you’ll figure it out.

[athena1138]

DA Question Meme

Literally nobody asked for this but I don’t wanna do my homework so HERRRRRE WE GO! edit: doing this made me realize just how attached I am to the same 4 names lmfao. #creativity i guess. 

01) Favorite game of the series?

I like a lot of things about all of them. I like the companion interactions from Origins, the story from DA2, and the character creation and map of Inquisition. But they all have things I don’t like, too, so I’m not really sure I have a favorite. I think DA2 and Inquisition are tied, tbh.

02) How did you discover Dragon Age?

My roommate had been (trying) to play Origins for a while so my interest was piqued. Then, I was sitting in my Spanish class and realized PSN was having a hella sale so I went looking for some games. Inquisition GOTYE was on sale for like $70 with all the DLCs so I was like, “Hm. Yeah. Aight.” I then proceeded to get 89 hours banked in the course of like...5 days. It was insane. There was much coffee and little sleep. (I said trying because her Xbox 360, both of them, absolutely refuse to let her finish it before the console corrupts something in the data.)

03) How many times you’ve played the games?

Origins 1 1/2 times. I got all the way to the end with my elf before Alistair broke up with me to be king so I said, “AW HELL NAH” and literally started over just so my Warden could be queen. 

DA2, 2 full times and I’m on my 3rd for “fanfiction research” purposes. 

Inquisition, once all the way through the main storyline, started again, then started again. 

04) Favorite race to play as?

Ya girl loves her some elves. I was a Dwarf as my first ever character, but the lack of romance options in Inquisition turned me off to them. I do like them a lot, though. 

05) Favorite class?

Rogue. Seriously, lockpicking should be a universal thing. Otherwise, mage. 

06) Do you play through the games differently or do you make the same decisions each time?

I try. Most of the more personal decisions I have a hard time changing. Like, should Cole be human or more spirit-y? I can’t. I always make him human. But I intentionally try to change major story arcs. Both my Hawke mages and my mage Inquisitor have supported the Templars where I supported mages 100% before. 

07) Go-to adventuring group?

Origins:  Alistair is almost always a must. My first playthrough, he literally went on 100% of my quests with me. Then usually Wynne and Zevran, but I try to switch it up where I think I can spare having a healing mage. Shale and Oghren are my buds. 

DA2:  Vikara Hawke--Fenris, Anders (li,) then either Varric or Isabela. Belladonna Hawke--Fenris, Carver then Avaline, Varric (hc li.) Titania Hawke--Fenris, Bethany then Merrill, Isabela (li.)

Inquisition: Oh boy. I just. I just love them all. Just so fucking much. Picking my group is painstaking, man. Gemma Cadash--Iron Bull (li,) Dorian, Cole. Vikara Lavellan is tricky because she’s a mage, but Dorian is my literal best friend and she romanced Solas so?--Solas (li,) Dorian, Iron Bull or Blackwall. If it’s a tricky area or I need a lock picked, I’ll usually switch Dorian with Cole. Vanaya Adaar--Blackwall, Dorian, Vivienne or Sera. (Josephine LI)

08) Which of your characters did you put the most thought into?

So, I had no fucking idea what Inquisition was about. You can go find my “first playthrough” posts for proof, so I was just going with the flow. But starting completely from the start, I think I put a bit more effort into my Wardens, and most definitely my Hawkes and now my new Inquisitors. 

09) Favorite romance?

Cullen. #1, always. Honestly. I know, basic, but you know what? He’s a goddamn tormented cinnamon roll. I also really love his v.a.. Like I’ll listen to the romance while doing homework to keep me focused. Is that creepy? Shit. That’s creepy. But in Origins, idk. Alistair is adorable, but Zevran is just...damn. I want to try Leliana’s romance sometime. Da2: Fenris, but I’m just so goddamn in love with Varric, man. I know it’s not a romance but IT FUCKING SHOULD BE. 

10) Have you read any of the comics/books?

Bruh I don’t even read my homework.

11) If you read them, which was your favorite book?

12) Favorite DLCs?

For, like, functionality? The Black Emporium lmao. I like to change my appearance as the game progresses. But for fun? I like the Deep Roads DLC for Inquisition, the Legacy DLC for DA2, and tbh I haven’t played many DLCs for Origins yet, just the one for Shale and the one for Morigann. I think I’ll like Leliana’s, though, and Awakening. 

13) Things that annoy you.

Can’t change companion armor in DA2

No voice for Origins. (I understand it, but starting from Inquisition, it’s frustrating. Plus, I’m blind, and the biggest subtitles are still hella small.)

You can’t just go strike up a conversation with companions in the field aside from Origins. 

Dwarves can’t be mages

THERE ARE NO DWARF ROMANCES

The Qunari just felt really..underwhelming til Inquisition? Like. Sten is just a large, stoic human essentially. All the Qunari in DA2 have the exact same face, and nothing about their titles or names are explained. They’re a giantass plot point and you’re telling me not even the Arishok could get some different horns or maybe a face lift or something? 

When your companions break up with you. Like goddamn. Rude. 

The Dark Ritual. 

Forcing Alistair to be King so I don’t have to choose between him or my Hawke. He’s so unhappy as a ruler, but it’s better for his safety. Such a dick move, guys, really. 

Leandra just straight up forgives Gamlen for blowing the entire fortune? Nah, Ma. He’s dead to us now. 

Carver’s such a dick, man. 

Caves,caves,caves,caves,caves in DA2. Like goddamn. 

I have soooo many more but I have to get up in 4 hours lmao

The dog in Origins counts as a companion

Even if Hawke is a mage, Fenris doesn’t cool it with his anti-mage shit. Ever. 

Anders is a dick, man. A beautiful one, but a dick. 

14) Orlais or Ferelden?

Kirkwall.

15) Templars or mages?

Mages, always. Supporting the Templars makes me so frustrated with myself. 

16) If you have multiple characters, are they in different/parallel universes or in the same one?

So, cross-games, they’re in the same universe. But as for, like, all my Inquisitors? Idk. I’ve never really thought about it. I don’t HC that I have like...6 Inquisitors or even sibling Inky’s running around, but I don’t see a reason why they wouldn’t keep existing just because one of them got the Mark. I do try super hard to connect all my main characters as closely as I can, just for funsies. 

Like, my new Lavellan was from the same alienage as my Warden except she got swept up in that slave-trade business at the age of like 10. Then she lived as a slave in Kirkwall til she ran away at 15 and was taken in by Merrill’s clan. She and an older hunter were out hunting when the massacre happened, so he ends up taking her up north to meet up with another clan he knows is fartin’ around there. (Lavellan.) So, she remembers Varric and Hawke from their few trips to visit Merrill’s clan on Sundermount. 

Shit like that, y’know? 

17) What did you name your pets? (mabari, summoned animals, mounts, etc)

Random things, usually. My current Hawke’s mabari is called Wrex, last one was Oberyn. I don’t remember any of my Wardens’ mabari names.

18) Have you installed any mods?

I fucking wish I could. Console only over here my dude. 

19) Did your Warden want to become a Grey Warden?

Vikara Tabris--No, absolutely not. She just wanted to stay in her alienage and take care of her family. She didn’t want to get married, and when the noble dude kidnapped them all she just straight up wrecked them, so she didn’t have a choice. She’s pretty bitter about it all, but Alistair makes it better. 

Titania Cousland--Hells. Yes. From the moment she heard Duncan was coming, she was like a fucking dog with a bone begging that her dad let her join. 

20) Hawke’s personality?

Vikara Hawke:  Kind, peaceful. Blue? I think? The colors represent the dialogue wheel, right? Idk, man, the nice shit. 

Belladonna Hawke:  Sarcastic af. 

Titania Hawke: Agro to others but not her friends. 

21) Did you make matching armor for your companions in Inquisition?

Look, fam, there are only SO MANY GODDAMN PIECES OF LIGHT ARMOR AVAILABLE. AT SOME POINT, WE ALL FINNA LOOK ALIKE IT’S NOT MY FAULT so like yeah

22) If your character(s) could go back in time to change one thing, what would they change?

oh jesus

ORIGINS-        Vikara Tabris--so much, man. The most important thing? I think she would’ve put Anora on the throne instead.         Titania Cousland--She would’ve tried to use her connection to the king to make him see reason, make him see that the war was suicide. 

DA2        Vikara Hawke--She would’ve tried to sway Anders away from the terrorist side of things more, had she not been too blinded by love to see what he was doing.          Belladonna Hawke--Would’ve rather taken Bethany’s place with the ogre because she can’t live with the guilt.           Titania Hawke--Corypheus. If she’d have just paid fucking attention, she might’ve noticed how weird Larius was acting, she might’ve been able to do something before the literal sky opened up. 

Inquisition          Gemma Cadash--She straight up wishes she was never at the fucking Conclave. If she’d have just stayed in the Carta, doing what she’s good at, this all would’ve been someone else’s problem. She has a hard time dealing with all the pressure and the stress and constantly fears she’s doing the wrong thing. The only thing that gets her through it is Bull.           Vikara Lavellan--Loving Solas. She wishes she’d seen the signs more clearly, seen where they were going with it. But, loving Solas lead her to Cullen, so in the end? She guesses it was worth it.            Vanaya Adaar--She would’ve tried harder at Haven, to save more lives than she did. If she’d have just been a little faster... 

23) Do you have any headcanons about your character(s) that go against canon?

For my Inquisitors, usually something will be anti-canon, but my Hawkes are usually pretty satisfying to me, and the Warden has enough options I think it’s alright. But like...Vikara Lavellan has almost no faith to the Dalish despite being one. She got her vallaslin because she had to to stay in clan Lavellan. I also sometimes HC that she spent time in the Circle so when Vivienne gets all snotty about it not being so bad, she can be like “uhm, scuse you.” Same with Hawke and Anders, but Idk how it would work. Maybe she was there during his solitary confinement but broke out with her phylactery and that’s when her family moved to Lothering? Oh. Shit. Yeah. That works. Hey, new headcanon! 

24) Who did you leave in the Fade?

First, Hawke, because I hadn’t played DA2 yet, but then I saw how hurt Varric was and I died inside. So, Stroud usually. 

25) Favorite mount?

Cadash--the Avaar War Nug Lavellan--Tirashan Swiftwind Adaar--Hunter Shade Dracolisk