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greensun · 1 year ago

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THE BIG QSMPSTUCK LOREDUMP AKA: I finally get to do all the lorebabble I wanted to do.

EDIT (11/1/2023): THIS VERSION IS NOW OUT OF DATE AND DOES NOT INCLUDE THE PEOPLE IN THE ICE CUBES. I AM CURRENTLY REWORKING PARTS OF THIS BUT MOST SHOULD STAY THE SAME FOR THE NEW POSTS SANS BAGHERA, KAMETO, AND DANTDM'S CLASSPECTS! LOOK FORWARD TO UPDATED POSTS IN THE FUTURE.

SOME NOTES: 1. I have a very specific version of qsmpstuck going on with my art I make that I made with a group of friends (thanks Slimercord!) 2. There are other people who made other classpects and takes on QSMP characters that are more character based, mine is not that case, it looks at how QSMP as a whole would work as a full sburb session, and balancing how many people would be on each aspect or class to carry that motif of Homestuck's balancing/equal duality theme. This means I am looking at and using Classpects as a narrative & plot device, not necessarily a personality test like how someone would classpect a real person (This is how the Extended Zodiac works, and why I choose to ignore it for character classpecting. It works great for classpecting real life people though, so by all means you can use the EZ for you and your friends!). 3. AND WITH THAT! It means two people per aspect and and class, with the exception of space and time having three people, and knights and heirs having three people. 4. FAIR WARNING: IF YOU HAVE NEVER READ HOMESTUCK, THERE IS LOTS OF DEATH IN IT, WITH LOTS OF RESURRECTIONS. I WILL BE DISCUSSING DEATH IN A VERY JOKING MANNER HERE! 5. For posterity in case things change in the future: This post was made August 2nd 2023, after the French were added, and right before the Election arc finished. I'm sure if I came back to this after QSMP is over my classpecting would be different. (Updated August 20, 2023)

I'll add this again at the bottom but if you want more of my notes and thought processes or just more qsmpstuck in general here's the link to my tag for all qsmpstuck on this blog, and here's the link to all qsmpstuck on my regular mcyt blog. (my regular blog includes other people's qsmpstuck takes & reblogs however! But every classpect analysis I reblogged in there w/ an anonymous ask sent to the OP was me on anon lol)

HERE WE GO! The big ol google doc sheet I had to make for this. Every note on that godtier order list is how we decided the character would godtier, and we still aren't even technically done! I have so much information built up for this AU I am not sure I could include all of it in this post.

CLASSPECTS

Anyway, in terms of classpects, the way we went about deciding was 1. Finding symbolic meanings we felt fit the characters best 2. If the classpect was funny and had a fun double entendre to the character 3. If we really struggled, we went and picked up Dahni Witch of Light's classpect analyses and found which class fit a character best within an aspect we had a vague idea of. I find Dahni's analyses to be the best at classpecting non-homestuck characters with, because they give enough leeway in interpretation and are somewhat broad, while still applying as a fictional character's story arc, rather than solely a personality test. We also basically ignored most classpect's assigned "role" concept thingy, they were too nebulous in meaning to help much, with the only ones we kept being Sylphs are the passive creation class with Maids as the active creation class, and then Bards are passive destruction, Princes are active destruction.

AND NOW BACK TO THE CUBES YOU CARE ABOUT: As stated before, we did lay it out so we (mostly) only had two per aspect and class, to get that true fan session balancing spirit. Space/time and knight/heir are the only ones with three members. Here's how the outfits look!

My favorites here & their reasonings are: - Etoiles: Sylph of Blood - We all agreed him getting a classpect that is at least somewhat silly would be fitting, but all immediately came to the conclusion that he would hands down be a blood player. From his love of fighting, and the way he goes about befriending everyone he meets to help them, he's just so blood player. To balance out our initial silly classpecting idea, we made him a Sylph! It fits, like, really well! He creates friendship, he helps people, like. What more could you want from a classpect for him. - Mariana: Maid of Doom - I sent these two asks to this other person about this and liked their reasonings lol. - Spreen: Prince of Breath - Look I'm a Spreengirl I think he would play a great active destruction class and he takes away other's freedom (in minecraft). He kills people. He's just so Prince to me. It's really funny. - BBH: Knight of Life - Do you know how funny it is to take a guy who's whole thing is that he's like entirely black and red themed and put him in the burlap sack outfit. Also Knight & Space player frog breeding combo. He's working with Foolish on those frogs. - Foolish: Page of Space - This guy is the ultimate builder of all time ever. He was hands down the easiest to look at and go Oh he is THE space player here. - Fit: Prince of Space - Y'know 2b2t and hacked clients and griefing people? Prince of Space. Plus since he's a space player, soooo - Philza: Knight of Rage - Another great Space & Knight combo. This guy is such a hater on QSMP (positive) he doubts easily distrusts whenever necessary. Such a rage player. - Missa: Bard of Time - Missa is really failgirl I know quite a few people haven't like... watched much of his MC stuff. However you should check out when he had to be placed in a box to fish by himself so he wouldn't die a third time in Minecraft Extremo. He's a perfect Bard, and then he does music. Great set up for a Time player. Wouldn't want it any other way. - Antoine: Seer of Void - truly. Truly. A guy I looked at for two minutes and immediately knew what classpect he needed. That scene where he just like lightly questioned Cellbit after he escaped the federation and it made Cellbit so nervous he started just saying things that made him look way more nervous than necessary? Core Antoine moment for me. The fact he has a basement filled with so much writing on every candidate? The fact he hides his true face so much? We don't even know what's going on there? Void Player. Seer. So fitting it's beautiful to me. - Felps: Maid of Breath - Look, breath is THE aspect of freedom and doing what you want at your own pace. I think I would be committing a cardinal sin if I DIDN'T make Felps a breath player. - Tazercraft: Witch of Doom & Page of Time - They get to do a fucked up glitch timeloop. With these two classpects they can literally do whatever they want forever. Witch of Doom is a classpect that you give to a character if you know they can rip everything to shreds, have fun doing it, but wouldn't (usually) use it to actively hurt people out of true malice (for no reason) (a witch can DEFINITELY respond negatively if push comes to shove). Page of Time is so funny as a classpect also. Just like... Look up what the Page godtier outfit looks like. You'll see what I mean... And why Pac is a page. - Rubius: Waste of Breath - This classpect sounds really mean, sorry. I promise I like Rubius. He's supposed to be a stand in for what the Hussie author insert was in Homestuck, opposing Doc Scratch and fighting him. Hussie was a Waste of Space, I wanted to keep the pun with waste here. Breath worked the best. The federation has a Lord of Blood ability to counter him. Neither of these two count for the main classpect total.

One day I might post a copy of the google sheet and link it for more in-depth reasonings for every character, but like... almost everyone had reasonings like this where we spent waaay too long analyzing everyone LMAO. This is getting long as is, so I'll cut off classpecting here.

DREAMING MOONS

I am about to say something that will make people either really mad or really happy. There is no canon true definition of what assigns you a dreaming moon in Homestuck's text. The only thing we can glean from canon about which moon you get is that Prospit humans make their bed in the morning, and Derse humans don't. Needless to say, this doesn't help when you want to individually give each person a dreaming moon, but it IS great news for me: it makes assigning dreaming moons based on dividing the cast in half really, really easy. That is how it worked for the troll session, it was cut in half with teams, and then assigned based on red team vs blue team. So that is what I did here. All of the English speakers were given Prospit, and all of the Hispanic side were given Derse. This has lore relevance. We'll get back to it in a moment.

Also for note, the Federation is Prospit, with Dersite carapacians being a more nebulous identity against the Federation. Hispanic side was given Derse because they just seem more like Derse guys. Plus the whole Time on Derse/Space on Prospit theme going on in original HS canon is something I kinda wanted to go along with.

Quackity was given dual dreamer, with one of his dreamselves being ElQuackity, hence why he isn't listed. To balance this, we had to make another dual dreamer, and figured handing it to Kameto, who basically is permanently lost in the void, would be a good balance.

The French and Brazilian sessions were assigned using the "well this character would make sense here" method.

Server/Client Orders & Session Chains

If anyone needs a brief refresher, a client is the person you get into a sburb session, and a server is the person gets you into the session. Everyone is a client and a server to someone different. (tl;dr John was Rose's client, Rose was John's Server.) THAT BEING SAID! It means the loop for sessions close once you're all connected to both a client and a server. There are three separate sessions here, and one of them is a mobius double reacharound.

For clarity, the arrows mean: Client <- Server

The Original session, the mobius double reacharound, is the Spanish-English session. The order is

Quackity <- Mariana <- Spreen <- Roier <- Missa <- Vegetta <- Maxo <- Luzu (<- BBH)

BBH <- Foolish <- Slimecicle <- Jaiden <- DanTDM <- Fit <- Philza <- Wilbur (<- Quackity)

Because of the nature of a Mobius Double Reacharound, it means BBH and Quackity enter the session first, by technicality. The first person in a session is also the person who does the ectobiology. Unlike the troll session which only had Karkat as the ectobiologist, if Q!Quackity were the sole ectobiologist, no clones would be made and everyone would be stuck in a paradox, so I think it's funnier if BBH and Q had to work together on Ectobiology. I find their dynamic hilarious. Anyway, Luzu and Wilbur had to be the last in their respective chains, because no one else would be able to enter.

The next chain is the Brazilian closed Session, which is

Forever <- Mike <- Pac <- Felps <- Cellbit (<- Forever)

As previously mentioned, Pac e Mike (uou uou) have very good classpects to make up for the fact they have no space player. I'll come back to this.

The final chain is the French closed session. It goes

Baghera <- Antoine <- Etoiles <- AyPierre <- Kameto (<- Baghera)

They have balanced moons! They have a space player! They have a seer even! Both light and void! However, in missing a time player, they are forever doomed to fail the session.

LANDS OF PLANETS AND PARTNERS

Now I can finally explain actual lore. My apologies for making you read about 1000 words before this.

The Hispanic-English session is glitched. There is not a planet for each person. They have to share planets with a person from the opposite dreaming moon, generating lands that are a combination of two different aspects entirely. The planetary pairings for this prime session are the same pairings used for the initial egg pairings.

I really love designing lands for Sburb AUs it's my favorite thing in the world. The first one is the Land of Acid and Alcohol, Slimecicle (Heir of Heart) and Mariana's (Maid of Doom) land. Its oceans are acid and gasoline, and then covered in bottles that are a Russian roulette of alcoholic beverages, and then Molotov cocktails! The second is the Land of Steam and Dreams, Roier (Witch of Blood) and Jaiden's (Seer of Hope) land. It's filled with buildings built in an industrial revolution style architecture, playing on how people could believe in social mobility and "making it" in that time period, while also being reliant on heavy metallic machinery! I have a lot of fun conceptualizing lands.

The session's glitches don't stop at the planetary pairings on their own however, and it continues when Luzu attempts to enter the session. The session glitches from him being BBH's client, where it refuses to match pairings if they're connected directly, as the game would be unable to generate the gates above each player's house, it would simply loop back to connecting with the same Land. Luzu ends up being paired onto Quackity's land because of this, because the Game still detects him as having a dreamself on the opposite moon, even if he technically has both.

This causes BBH and Wilbur's land to glitch, and they end up paired together (as a bit of a nod back to how BBH and Wilbur were initially intended to be paired, before admins just made a new egg for Wilbur). We'll get back to this in a bit.

Some other lands from the AH session I enjoy are - The Land of Lush Forests and Iridescent Lakes, also known as LOLFAIL, BBH and Wilbur's land, which is a double Life player land, so the oceans are filled with gemstones and the land is covered in the most dense forest imaginable. It has the most difficult underlings spawn on it compared to any other land in the Anglo-Hispanic session. - The Land of Frogs and Typhoons, Spreen and Fit's land, which every space player is guaranteed frogs as part of their land, combined with Spreen being a breath player, it is a constant hurricane with frogs in it. They do not work on trying to calm the storm. They just start killing the frogs. There are so many frogs. The frogs are constantly flying at anyone who enters the land. Fit's slogan is FTF. Thank you to crow qsmp-yaoi for saying this idea because it truly brings me to tears every time I think about them being hit by those frogs flying at Mach 10. - The Land of Synapses and Static, Maxo and DanTDM's land. It's a darkened land, caused by Maxo's void, and then covered in a blanket of constant fog so thick a lighthouse can barely cut through it. The land also has mimicking noises to make familiar sounds to any player that steps on it, caused by Dan's Mind. It is an overbearingly lonely land. One where you understand what it truly feels like to be alone. One where you can lose someone as soon as you take your eyes off of them. Maxo last saw Dan on this land. No one else has seen him since.

I'm going to stop myself here, but I might come back and draw some more Land illustrations for these, haha.

Denizeggs

With the planetary partners, you might have seen this coming. Each planet in the combined session is missing a Denizen. Instead, what each player finds at the heart of the land is a little egg they need to help raise. They all find eggs at different points, however. Some people find their egg before they godtier, some find them afterward.

All of the eggs correspond to the land of their respective parents, however Luzu joins into the session too late to ever meet Tilin, second to last of the chain, she's already dead by that point.

And then the final major glitch in starting this session, when Wilbur joins as the final member of the chain, and enters, the only land open is BBH's land. Due to the nature of Sburb already knowing how things would end, it was always going to be this way, and there was no other option on who's planet he would join. The game glitches again, and detecting a second Prospit player, spawns in a new Denizen: Tallulah.

The eggs generally follow how they were in QSMP proper. Some of them die early. Some of them don't. Juanaflippa is as tragic as she is in canon. Two dads who are just bad at raising a child and it would have never worked out. Slime still kills Tilin by accident. Spreen doesn't care about Ramon, ditched him etc you know how it goes. The eggs are partially a planet quest too, so it's best if the eggs do live here.

Also in the glitches with this, there's a lack of consorts on any of the combined planets. There are a few, but not really as common as canon proper would have.

BRAZIL! 🇧🇷

The Brazil Session is a closed session between the five Brazilians. One of the requirements to complete Sburb is that you need a Space player (required to have forge in order to complete the final genesis frog & launch it into creating a new universe) and a Time player (required to keep the session in the proper timeline). The Brazilians have a time player (Pac), so they're halfway there!

There's some hiccups along the way. Mostly just Cellbit accidentally killing Felps and having to sprite him so Mike could make him a robot body to live in, but same old same old etc. Pac and Mike also kill each other by accident, but some other stuff happens there.

They still don't have the main aspect to actually continue the session, realize this, and also have a guy with one of the most conceptually powerful classpects to exist in terms of being able to glitch a game and save everyone. They manage to contact the primary session, reaching out to two grieving parents who are desperate to do anything to revive their daughter, one of whom is also a very powerful Doom player.

Brazilian Lands (brief edition)! - Land of Vultures and Culture, Forever's land, is a Hope land based around having Forever work to help save consorts who are hiding beneath intense structures and live in very isolate communities from each other. There's also massive megafauna in the skies that are always trying to kill them. - Land of Electronics and Experiments, Mike's land, is a pretty typical doom land, based around Chume labs, and has a constant lightning storm overhead - Land of Dancefloors and Dollhouses, Pac's land, is a combination of a land quest he has to get through, and a typical time land. All time lands have a clockwork or a music theme, I think him having a hot pink land that's massive amounts of dollhouse rooms attached to each other he has to make it through is just a fun concept. - Land of Cloud and Sky, Felps's world, is just a land with everything high in the sky. His whole quest is about him harnessing his ability to go with the flow to connect his consorts together. This is hard when he's sprited himself after dying upon entering due to Cellbit fucking up and accidentally killing him, and living in a robot body built by Mike. Aradia style. - Land of Searchlight and Bone, Cellbit's world, is a giant panopticon style prison. With so many bones, both decorating the prison, and filling the prison cells. His final moment is when he gets to the office of the panopticon, and it is his quest bed. He has a whole ordeal over it.

RICARLYSON! So these guys have regular consorts and Denizens, Richarlyson spawns in the heart of Skaia, and gives the quest for the other five guys to raise him.

Pac (Page of Time) has the ability to manipulate time as he wants once he realizes his abilities. Mike (Witch of Doom) can rip a hole in the universe so big it saves all of the players and sets them smack in the middle of another session, especially a previously contacted session with the connection being a Maid of Doom. With a time player land as well, they get a scratch construct on the Land of Dancefloors and Dollhouses, setting up their ability to scratch their session and set loose a whole new universe where theirs once stood.

French

The French session has probably the most normal planets of everything going on here, what really starts their journey going awry is that they have no time player.

Antoine, being a Seer of Void, can see something is going wrong. He makes contact with people outside of their session in an attempt to restore things to balance. He goes off into the veil and contacts the horrorterrors, and sets up a connection between two Doom players who seem they both desperately need it.

While he's doing that, the rest of the French proceed to have the most normal Sburb session out of anyone. Etoiles is having a great time on his planet. Aypierre gets a genesis tadpole. Kameto has two backup lives.

French Planets (Brief Edition) - Land of Apples and Airplanes, Baghera's land! It's probably the nicest land of anyone's. There are many jokes about how she doesn't get why everyone keeps complaining about their lands being horrible until she reaches theirs. - Land of Sham and Soil, Antoine's land, it's a dark land with tall dirt towers that make it impossible to see where you step. You'd need to be someone who could find where you're going in the pitch dark to even survive here. - Land of Bonds and Breakouts, Etoiles's land, is a land of a giant maze dungeon labyrinth. It's a nightmare for everyone but him. He loves it. - Land of Bogs and Frogs, AyPierre's land, is a land with frogs in a very thick swamp. I'll be honest i Just need to cook on this one some more. - Land of Hidden Leaves and War, Kameto's land, is a Naruto joke.

POMME! Is like Richas she's in the middle of Skaia. An easter egg if you will.

The French session is brought into the primary session when Antoine manages to contact with everyone else fully, rather than quietly watch from the outside. Etoiles and Baghera lose their original selves, and are their dreamselves when the universes collide in, and were unable to godtier, due to not knowing about the quest slabs.

GODTIERING! & the rest of the chronological story

THIS is the order of the godtiers from the beginning of the Spanish-English session. Anyone in the other sessions who godtier before their universe collide event has a red numeral to keep them distinct. I feel pretty strongly almost everyone would godtier here, they're all characters based on gamers. Sburb au works exceptionally well when you know everyone's gaming style.

Also, yeah I have notes listed on each godtier order for how each person dies. Like it's that detailed atp.

Spreen has the highest kill count out of everyone on purpose. I think he'd be down to cut his friends down knowing they'd be revived immortal afterward. As well as, the federation is Prospit in this scenario, they want everyone to godtier. I think him playing to what they want out of him feels his style. Anyway, he sprites his own dreamself due to ElQuackity messing with timeloops. To make his living player self trust him, Spreensprite convinces him to godtier Roier first. It is himself he's talking to, after all. Roier becomes the first godtier in any universe, and not out of his own volition. After seeing it really did work with Roier, Spreen godtiers himself. He gets li'l bear ears ala Jade getting doggy ears with her dreamself sprited, he threw in a Rubius cubito to his kernelsprite first. I like the bear ears I'm biased .3. q!Spreen being really fun in a Sburb concept is why I got hooked on this au after all.

After the first lore is repeated, BBH godtiers himself by decapitating himself with a sendificator to fuck with Foolish. He's kinda bitter about getting beige clothes. He befriends the midnight crew at least. This is before he has Dapper. He finds out about godtiering from Roier by accident and then is like. Oh I have the BEST idea.

Vegetta is killed by Spreen by request, wanting to be stronger to protect Leo, and then Spreen godtiers Missa in order to use his time powers on Derse to throw his dreamself at the kernelsprite, locking the time loop. Anyway, Missa is essentially locked in a tower on Derse's moon after this, now permanently in his Dreamself's body, who hadn't awoken prior. Fit realizes people are walking around in weird clothes, hears about it vaguely from BBH, sends a text to Spreen who'd been ghosting him, and goes like. Hey man. Wanna kill me? And gets his first reply in months.

Phil is attacked by an overpowered monster and almost dies, and Missa manages to get the message to Fit that this is happening through time shenanigans, and Fit manages to get him to his questbed before he fully dies and loses his dreamself. Phil is not happy about this and could not be angrier. He doesn't blame Fit though it's like a self anger thing.

THE BRAZILIAN CASCADE HAPPENS! PEOPLE DIE. By which I mean Slimecicle and Mariana work together to try to help the Brazilians into the session in a bid at saving Juanaflippa, hoping one of them have the ability to revive her. Slimecicle is murdered in the crypts of Prospit by Quackity in a duel, where he cuts off Quackity's arm in exchange for Quackity cutting down his life. Truly one of those luck moments where Charlie dies on his questslab. Mariana is murdered at the same time by Spreen, who is now fully working under orders from the Federation.

Pre-cascade, Pac and Mike both godtier, because they stumble into a stable timeloop, by Mike accidentally glitching Pac's questslab into throwing it at him and killing him. He godtiers with this. Now, as a fully godtiered page of time, they make it to Mike's questbed, and godtier!Mike nudges Pac's slab at Past!Mike to pick up and throw when fucking around with powers.

Felps godtiers in the cascade along with Mariana and Slimecicle, they leave behind Derse and its moon, and they both get destroyed. Where his body sleeping on the quest slab godtiers. Aradia style. Except... as a Maid of Breath, his robot sprite body doesn't explode. He just sort of... exists in both. When one falls asleep the other wakes up. The rest of the Brazilian session just assumes the Cascade fucked with his robot body's energy sources. He kind of just figures each side is a weird dream he keeps having.

Cellbit is staunchly anti-godtier, while Forever wants someone he trusts to godtier him. Cellbit refuses to godtier Forever, and causes a major fight between them. Then Spreen murders Cellbit into his godtier under orders from the Federation, which is preceded by a long Scooby-doo-esque chase, where BBH sees them both, and decides to follow. BBH is a fully godtiered Knight of Life here, he has resurrection powers for other players, and Spreen is functionally immortal as well. BBH 100% catches up to him after he kills Cellbit, and proceeds to put Spreen in a torment nexus of dying and undeath. Thus ends the Killing Spree(n).

AND THEN THE FRENCH CASCADE HAPPENS! The final session connects, and Baghera sacrifices herself to make it happen. After they make it in, they learn about Quest slabs, and there's a whole thing with Etoiles dramatically getting her to her questslab before she fully dies. Etoiles then proceeds to go kill himself on the questslab immediately after. Felps is also hanging out with the French, they found him hanging out in the void and take him with them. They lose Kameto in the void however, nobody's really sure where he went.

Pre-French Cascade, Antoine is the only French player to godtier, and no one will explain how it happened. It seems like no one really knows, but Etoiles keeps saying more fantastical descriptions every time someone asks. He's never taken his seer hood off of his face.

Back in the order of the godtiers, Forever befriends Baghera, and eventually her and Etoiles and Cellbit help him godtier. It's a whole event. Richas is having a blast.

Bobby dies, and Jaiden decides to godtier in order to get into the Federation's good graces, as well as out of guilt of feeling that if she were stronger and godtiered she could have saved him. Roier godtiers her.

AyPierre is godtiered in a tragic accident with one of his many machines. Etoiles helps pull him to his quest bed. He's a Thief of Space he has fun with it.

Foolish is the second to last person to godtier, and he is godtiered by Pomme by accident. He wanted his godtier to be as cool as possible, and somehow managed to not godtier by this point. It's just very him. He's down with the page pants.

Quackity is the final member to godtier. BBH kills ElQ at one end of the universe with the aid of Maximus. Slimecicle kills the regular QQ in one final duel.

At the end of the universe, the only people left alive and able to contact the rest of the sessions to never godtier are Wilbur and Maxo.

DanTDM disappears on the Land of Synapses and Static, never to be seen again, along with Turnip following soon after.

Luzu finds a glitch and is absorbed by it not long after he enters.

Nobody is really sure if Kameto godtiered or not.

MISCELLANEOUS NOTES

We're currently working on figuring out sprites for everyone, so hey! I might come back and add an update on that, but this post is so long my computer is lagging. I have a gaming laptop. It shouldn't be doing that. Here's some stuff on the sprites we do have + some misc notes.

Cellbit's flashlightkind is like how Kanaya's lipstick works. It's a chainsaw.

Spreen has Spreensprite, BBH has Skeppysprite, Missa has a sprite that is a mysterious skull sprited twice called Skullskullsprite, and Roier has his dog with a spiderman called Dogmansprite, and Jaiden has Arisprite, who's Miku & Ari combined :D (thanks icarus!)

It is 5 am as I finish typing this and queue it. I think I started typing this at 5 pm yesterday. Feel free to comment any thoughts you have or play around in this au! Also feel free to @ me if you do, either on my main mcyt blog (@etoilesbienne), or here!

qsmpstuck tag on my art blog / qsmpstuck tag on my regular mcyt talk blog

#qsmp #qsmpstuck #qsmp au #qsmp homestuck au #mcytstuck

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sanctus-ingenium · 11 months ago

Note

I’m really inspired by your world building and the creatures you use. I’m trying to kickstart my own world using Celtic, Norse and Scottish myths (it also involves werewolves because they’re cool)

But I’m stumped and a bit overwhelmed. How’d you start your project and what were huge sources of inspiration for you as you worked on The Black Horse?

hi there!!! this will probably get wordy i have a lot of thoughts on this but here's how i built up my inver setting

i had the characters first, and the werewolf establishment was basically the first thing invented about the world. I wrote a decent amount about the characters in the pre-1st draft slush pile just getting a handle on their voices, their history together, etc. the first slush draft was in painstaking chronological order telling of their lives from birth to like age 40 - it wasn't pretty to read but it meant I knew what big moments formed their worldview, their relationships with others, things like that. and then i got to pick and choose which ones would feature in the actual 1st draft, and which i would leave unsaid, in flashback form, or only in the form of vague allusions. the plot and world events changed significantly as i wrote the actual 1st draft so this ended up only being useful for backstory stuff and not book plots, but it was still good to have.

There was an important moment of a character being kidnapped into a faery realm, which is what started me off thinking about fairies in general. they weren't originally a part of this world - it was an undefined space before just for the characters to exist in, because i was (and still am) more interested in the characters than the worldbuilding. but i still like for there to be SOMETHING there in the background, and it gives a lot of opportunities to inform characterisation, so i started to make my setting. I picked the Púca as a pivotal being & major inspiration source to include because of its relatively large presence in the fringes of my childhood in stories told by my older relatives and i like the unusual aspects about it as well, how it has been both heroic and malevolent in different stories. you have to remember i grew up in this culture too, i knew a lot already, and that's what got me thinking of alternate Earth history - as in, the setting of Inver as alternate history, not wholly original fantasy set in a fantasy land.

So then I had to think about the implications of that, and here is where I think a lot of authors adapting extant mythology fall short. A world where faeries/mythological monsters/gods based in real cultures exist and people interact with them is indistinguishable from our own. We already live in a world where people interact with faeries in their own way; I've heard many older relatives recount stories of being trapped in their fields by faeries, how you can only escape by taking off your jumper and putting it back on inside out. There was no question as to whether they believed this was a concrete, meaningful interaction with a supernatural being. We have a motorway that was diverted while it was being built because the builders didn't want to risk cutting down a hawthorn tree. There is a deep stigma against harming hawthorns. Now, tell me how things would be any different if faeries were real irl? ftr I do not believe in the supernatural whatsoever, not even a little bit, but it is impossible to deny that I live in a world deeply shaped by it - I need only look out the window at the stands of whitethorn around my house to know that. because the main expression of that supernatural element is in how the people of that culture react.

you cannot, you cannot pick and choose only the monsters from a legend and leave behind the people who made & propagated that legend. you're only taking a single thread from a rich tapestry. I'm not arguing that other cultures should be untouchable, far from it, I'm just saying that to truly appreciate it, you need context for everything you adapt. you gotta know what you're writing about

in that sense, the people are more important to building Inver than the faeries. a citizen of Inver not immediately affected by the main plotline would likely never see or interact with magic in their lifetime, but their society is still shaped by it. so is mine (though that's more on the catholic church than anything else)

So now that I'd had that realisation, I decided to dump a lot of the traditional fantasy tropes I'd been working with. Think basic fantasy setting stuff, pop culture "The Fae" tropes, even the terminology of 'Fae' at all - that is not something I've ever heard the older generation in my life call them. It's just 'fairies' to them (although I did shift the spelling to match the Yeats poem because I could not handle writing characters making accusations of being A Fairy and have it not come across as a unintentionally homophobic accusation lmao). I did some research; mostly on JSTOR, using my institutional access, because my own university is mostly science and didn't have a big library of anthropological texts. I read An Táin Bó Culainge which is honestly one of the greatest stories of all time PLEASE READ IT if you are at all interested in Irish myth. It is a fantastic story and extremely comedic as well (a canon mmmf foursome lol). In terms of academic sources specific to the Púca, I have a drive folder of pdfs I will share with anyone if they ask.

I decided I was not going to include anything from what people actually think of as pre-christian Irish mythology - no fianna [rangers notwithstanding], no Ulster cycle, no Tuatha Dé, no Irish gods. All the things I include are post-colonial aside from the notion of the Otherworld in general. This decision wasn't necessarily accurate to what might have happened in this alternate history (given that christianity still has no real foothold in Inver) but it is a colonised society after all. It's why I got slightly steamed once when someone filed my Púca art into their irish deities/irish polytheism tag (I have my own issues with iripols/gaelpols for the same reason I dislike people taking myths out cultural context and in this case contemporary cultural context), because the Púca is in fact a postcolonial being - it comes from the UK, and likely the mainland as well

One of the last things I did before starting on my 2nd draft, which is what turned into Said the Black Horse, was decide to always capitalise the word 'Púca'. Because what really clicked from doing my research and remembering what I'd heard as a child was that the Púca is a specific character. Not a species, not a class of monster. A character, one guy. And you'll find this everywhere - the obvious example is the Minotaur being one specific guy, the son of Minos, not just 'a minotaur'. One very funny consequence of speciesifying mythological characters is dnd ppl saying their character is A Firbolg (fir bolg is plural!!). Fantasy bestiary books like Dragonology or Spiderwick Chronicles have done some amount of damage to how people relate to myths and legendary creatures, and I am not immune as someone who loves speculative biology, but in Inver I decided to cut all of that out.

Next once I got that out of the way I had to think about tone, atmosphere, and intended results. I didn't achieve my holy grail of a very atmospheric, undefined, and uncertain story that provides no answers, due to limitations in my own abilities, but I tried. I have given less than 1 second of thought to how magic or faery biology in Inver works because that is not conducive to the atmosphere of a fairytale. Many of these source myths and legends are really about the fear of the unknown. They are rationalisations to explain away something unknown, some mystery of life, and you cannot explain the unexplainable and expect it to carry the same punch as the original myths that you are drawn to adapt. That's also why I try to never actually give facts about fairies, but instead I talk about what people think of them. The word 'considered' does some insanely heavy lifting in that linked post lmao. Is any of what I wrote true with regards to the Red King?? It is for the people who believe it.

I'm saying all of this because these are all points I had to think about before writing that 2nd draft, but also because I think they're worth considering for your own story as well. I'll admit I invented my werewolves from scratch, they have no mythological basis, because they pre-date the faery stuff and also I wanted them to fill a very specific role and appear a little more concrete than the other supernatural elements. It is what it is; I wanted a werewolf element that didn't match myths and legends (and honestly was partially inspired by me rolling my eyes about those posts going around moaning and whining about 'the doggification of werewolves missing the point of werewolf stories'. I thought, well, there's more than one story you can tell with a werewolf - it isn't always 'i fear the beast within', sometimes it's something else! sometimes it's daddy issues! it's okay to make something new)

ok i think that's all i have to say.. modern Inver is a bit different, that worldbuilding is largely the same but with a big dose of actual ecology because the main characters are rangers and in Inver in 2017, rangers mostly do environmental monitoring. and that's a whole different sort of worldbuilding lol

good luck with your story!!

#me about to write literally anything: this will probably get wordy #mvf #setting: inver

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literary-illuminati · 8 months ago

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2024 Book Review #20 – Foundryside by Robert Jackson Bennett

I’ve in theory been a big fan of Bennett for a couple years now, having adored American Elsewhere when I read it. I say ‘in theory’ because I had not actually followed that up by reading any of his other stuff until I happened to see him doing an AMA on r/fantasy and was jolted to go put something of his on hold. The most convenient option was Foundryside so, here we are.

The story follows Sancia, a former slave-turned-magical-experiment who now uses her rather inconveniently always-on sort of object empathy to be a really excellent thief for hire in the hopes of earning enough cash to pay some black market surgeon to make her normal again and then stay quiet about it. That price tag lures her into accepting a job for an eye-watering amount of money from what it clearly one of the merchant houses who rule the city – which she discovers to be an ancient relic, a key that can open any lock. And talk to her. And revolutionize the entire industry of enchanting upon which the city’s fortune and empire are built. She correctly assumes that there’s no way they’re planning to let her live after turning it (him) over, and things spiral out of control from there.

It’s fundamentally a heist story, with all the main action setpieces being about breaking into places and stealing things. And like all good heist stories, the protagonists are totally incapable of winning through anything like brute force, and have to be clever bastards about it – sneaking past guards, not slaughtering them in the night. Those heist sequences are all vividly described and just a lot of fun, almost worth the price of admission on their own.

So this is the rare story where calling it ‘magipunk’ is both accurate and helpful. Which is to say, it is almost literally a cyberpunk story translated into the idiom of vaguely-early-modern fantasy city states instead of corporate arcologies. Scheming oligarchs, overmighty corporate states, miraculous technologies that are only felt by the underclass as news ways of being oppressed and objectified, the works. The most triumphant and hopeful part of the ending involves the founding of a worker’s coop that doesn’t get immoderately crushed. Notably useful and plot-relevant enchanted items include a listening device, trackers, and a powered gliding rig. It’s only when you really get into it that the magic starts feeling at all magical, is what I’m saying – you could translate almost all of this into Cyberpunk 2020 terms in a couple of hours. I think it’s quite fun.

Sancia’s whole backstory – a slave on one of the plantations supplying the city with food and spices, taken as a subject for bloody experimentation in creating perfectly obedient magical cyborgs, surviving and escaping because they got sloppy with occult grammar and reality interpreted ‘be like object’ as ‘be like [INSERT NEAREST OBJECT HERE]’ – is fun on a few different levels. The story definitely leans into a running theme of the reduction of the powerless and subordinate to literal objects and tools wielded by those who control them, both metaphorically and literally. But also there’s an absolutely great beat where she’s explaining her story to the rest of the main cast who are all horrified and disgusted that anyone would do such a thing. To which she reacts very angrily and goes ‘you know that isn’t, like, worse than the whole rest of the chattel slave economy, right? More people get horribly tortured to death as part of everyday operations than creepy magical experiments?”

Sancia as a character is just a lot of fun to spend time in the head of, honestly. Her relationship with Clef (the magical key, the more literal example of being objectified and insturmentalized by one’s masters) is the core dynamic of the first ~half of the book, and it absolutely carries it. Though in the final act it then runs into the very common action/adventure story issue where she starts talking about this guy she’d known for barely a week like a life-long friend she’s shared more good times than she could count with. Entirely forgivable but like, it does stand out.

There’s this whole subtheme of, like, futile misogyny running through the text? It’s never explicitly brought up, and the only character whose actually vocally sexist on the page is the asshole philistine moneygrubbing abusive husband wannabe-coupist you’re clearly supposed to hate. But it’s a repeatedly mentioned point that the culture of enchanting grew significantly more patriarchal in the previous generation (for unstated reasons, possibly just the one epoch-defining genius being a misogynistic ass) and that this was very bad for the career prospects of several major characters. Despite this, important women in the story include a) half the main cast, b) the only competent and attentive head of any of the four merchant houses and c) the enchanting-prodigy wife of aforementioned sexist asshole who turns out to have been feeding him every useful idea he ever had until she could kill him and scoop up everything he’s gathered. This is one of those things that amuses me because it’s clearly deliberate but is never directly mentioned.

This is also one of those books that’s queer rep not in the revolutionary groundbreaking it’s-a-core-part-of-the-tezt way, but in the ‘wow isn’t it great how normal and unremarkable queer representation is now?’ way. Like, Sancia is gay, which is one of remarkably few things about herself she never expresses a single moment of angst, anger or self-doubt about, and she has the sort of C-plot romance subplot every adventure story is obligated to (right down to agreeing to go out for a drink if she survives the last big heist), but with a woman. Her sexuality otherwise basically doesn’t matter. When people ask for queer SFF book recommendations I’m never sure if offering stuff like this is missing the point or exactly what’s desired.

As mentioned, the only other book of Bennett’s I’ve read is American Elsewhere. Which was an absolutely horrible way to set my expectations going into this. Foundryside is fun adventure fantasy, but it has far fewer literary pretensions. The prose is incredibly readable – it’s absolutely a page turner – but that’s basically all it aspires to be. Elsewhere had several different passages I stopped and reread just for the pleasure of it, Foundryside I went back and reread only when I skimmed past some important detail and got confused.

But it’s a really fun fantasy heist story, and the sequel promises to be about a rampant artificial intelligence clockwork djinn which turned against the ancients who made her. So I’m sure I’ll get to it sooner rather than latter.

#book review #foundryside #robert jackson bennett #sff

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markantonys · 5 months ago

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Was talking with a moot and they were saying how they don't feel like the show is doing a good job of explaining the lore. How right now we don't know what being the Dragon actually means, what ta'veren are, what the Dark One even is, what does he want, why does the Dragon fight him, how all of these mythologies are built into the worldbuilding in the books but aren't as clear in the show/feels disconnected. Idk I feel like the show is just introducing these things at a slower pace than the books did and that's not necessarily a bad thing

i just don't get these arguments because most of these lore points literally have been explained in the show???? do these book fans just miss it when lore is incorporated via natural dialogue or via Showing Not Telling instead of via somebody sitting us down to do an infodumping monologue for 5 minutes? i swear to god so many readers just don't pay attention to the show and then whine that it's missing stuff it did in fact include.

dragon stuff: this has been abundantly explained in both seasons, meanwhile in the books the concept of TDR wasn't even introduced until book 2. we will get more specifics at the same time rand does in upcoming seasons, just like in the books. at this early stage we don't need to know any more than "the dragon is a chosen one figure whose purpose is to fight the dark one and lead the last battle."

what the dark one is: a bad guy (duh) but otherwise left intentionally vague to build up mystery, just like the books did. we don't have the slightest conception of what TDO actually is until his first onscreen "appearance" in book SIX.

what does he want: to break the wheel and end existence. ishy's literal entire season 2 storyline was about this, and it went into way more detail than books 1-3 did. i'm not sure we got much of this stuff in the books until moridin came on the scene.

ta'veren is the only one i'd agree the show hasn't gone into much (though it DID explain the concept in 1x08), but, again, do we need to know that much about it right now? we know that our EF5 are Special, and that's enough if you ask me.

(i also wonder if the show might go a bit lighter on ta'veren than the books. idk, some of the stronger Main Character Energy stuff like plot armor and convenient coincidences and people blurting out secrets around them might come off a bit silly, and as for the stuff relating to the pattern controlling ta'veren's paths, it's interesting but it's pretty deep lore and the story doesn't really change whether or not we're explicitly aware that the events that happen to our gang are predestined. like, we'll obviously get plenty of predestination stuff with rand's dragon prophecies and min's viewings and likely the finn, so how necessary is it to also go into great detail on ta'veren predestination?)

having watched both seasons with my show-only non-fantasy-literate mom, i can attest that there is SO MUCH information for newcomers to wrap their heads around and i think her brain would have exploded if these seasons had tried to squeeze in any more than they did. she made me take down notes she could review between episodes! you should've seen her poor eyes glazing over at all the lore & worldbuilding stuff getting thrown at her in 2x05! this also goes for stuff like the whining about the show not yet using the words saidar & saidin - if they'd been throwing those around constantly since day 1, my mom would've had no fucking clue what they were talking about because she really struggles with remembering fantasy jargon, whereas consistently referring to it as "the male/female half of the source" in these early seasons is way more intuitive and way more effective at teaching her how this magic system works.

at the end of the day, the show simply is not ever going to flesh out the lore and mythology as deeply as the books do due to limitations of this different medium, and people need to accept that. it will explain as much lore as is necessary to understand the story and not much more than that, and that's absolutely fine. show-onlys are understanding the story just fine with the information the show is choosing to include, and lore nerds can knock themselves out rereading the books anytime they want.

#anonymous #answered #wot book spoilers

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physalian · 9 months ago

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The Pronoun Game

*This is not about preferred pronouns, this is writing advice.

I don’t actually know if this is the official term but it’s what we’re going with, otherwise known as contrived vagueness on a character’s identity to keep the secret from the audience.

“You know… ~him~.” “Who?” “HIM.” “One more time.” “HIIIIIIIM!” “…”

Stop doing this. No one talks like this. Or at least come up with a better in-universe code name even if it’s just “the client” or “the target.” Anything is better than this glaring contrivance.

It’s not so much the secret name, it’s how clunky the dialogue becomes without it (ignoring when this is done for humor and supposed to be a little ridiculous).

This is a partner post to how to introduce new characters’ names and the point I’ll be making there applies here: exposition, including new character names, should tell us more about your story than just the information within the text.

But first: just stop doing this. Just name the character. Do it. Audiences will be as confused as if you use a vague “he/him they/them she/her,” but at least they have a name to keep track of, even if it’s faceless at the time they hear it.

It doesn’t even work as a mystery. Characters only play when they’re obfuscating the villain. It’s almost never a red herring. Sure you didn’t say the name, but by deliberately hiding it, you’ve shown your hand.

Real people don’t play the pronoun game unless it’s motivated. So? Make it motivated.

Best example in history: He-who-shall-not-be-named

Why? It’s not just a pronoun, it’s got lore and myths and mystery baked into it. There’s a plot-based reason to be vague. Everyone who says this moniker admits they’re at worst terrified of and at best spiteful of its owner.

I have my own "he who shan't be named" and, can confirm, it's born from glorious spite and satisfying to use every time it comes up.

You can’t copy the epithet, but you can learn from it. Give your characters a reason to be vague beyond preserving the secret for the audience.

Names have power, speaking theirs draws too much attention or bad vibes

Character f*cking hates them, and pronouns them out of spite

Character is being vague to mess with the narrator on purpose

Character fears eavesdroppers and is being careful

Character is testing whether they can trust another by being vague and checking if they’re in on the secret

Character is drunk/high/exhausted and cannot remember the name or care about it to save their life

Optional substitutes here can get quite creative, my personal favorite is “what’s-his-nuts” because I like the cadence but you get the idea

All of these reflect back on the story and the world you’ve built, to give an in-universe reason for the obfuscation.

Now stop playing the pronoun game.

—

Thoughts on the shorter format? I can’t tell if #longpost is supposed to be an insult or not. I have a few of these coming.

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #exposition #character names

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absolutely-not-my-main-blog · 9 months ago

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I need people to understand, as someone who was big into both Supernatural and Sherlock at 16-17 and never once felt the urge to ship Destiel or Johnlock or any of the other myriad of ships therein, as someone who was generally neutral or actively distasteful toward shipping culture at the time and thought people were always getting up in arms about or reading too much into things that weren't actually there, and even with explicitly canon/obviously going to be canon ships only had a vague secondary interest in them relative to plot... I took one look at Always Sunny and it was the *first* time where I was like, oh, oh, this is real, Macdennis is real, and even if it *maybe* started out as a joke as many of these things tend to do, it's not a joke anymore, and I don't think it's queerbait either, and you can see that in their writing choices, in their interview answers, in the silly, twisting/twisted and ridiculous, yet simultaneously complex and sincere dynamic, love story for the ages, greatest will-they-won't-they, while it shouldn't be your sole focus in regards to the show, this is something genuine to the fans, and genuine to the creators that they want done right, even if people who can't see it act like you've lost your mind, even if you yourself start to think you've lost your own mind every other day in those sobering moments because shit, yeah, Always Sunny is the first time I saw, I get it now, and I even get the appeal of all the other ships in the show, too. Even though it's a sitcom, even though it's "the meme show," they're clearly not just having a laugh, they have stake in this, their work and their characters, and all the relationships they've built on through the years, though silly, are earnest and serious to them, and thus become serious to us.

#iasip #text #anmmbposts #macdennis #into the queue with you for some random-as$ time #preaching to the choir but i need others to understand godd*mmit aaahh #because i've been seeing people being baffled and mean and all sorts of things again #not necessarily here but like in general elsewhere #no paragraph break for you just overcorrecting tripping over myself in stream of consciousness #i think i've made some variation on this post before no one look at me

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autumnslance · 6 months ago

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Hey Aeryn, I was wondering what you recommend to get past FOMO and overthinking. I know I shouldn't feel this way but I can't shake it. I want to play all of the story but I start to feel anxious. I start overthinking and second-guessing and the cycle starts again. I have a WOL I'm enjoying writing but I can't get her to translate in-game. Any advice?

I admit, I don't often get FOMO, but when I do, I stop and ask myself: is this something I actually want to do? A place I actually want to go? An experience I need? An item I want? Or am I just reacting to others, especially friends, having fun and talking about a thing together, so it's pinging a social desire/need?

Cuz I can interact and talk with my friends in other ways and places. I don't have to do all the things they do, play the games they play, etc. I use in built filters and blacklists on my social media to not see things about games/shows/etc that I don't want hear about, and I stop following a lot of (usually sideblogs) accounts that deal with those topics. When I left WoW behind, I dropped a lot of those blogs, for instance.

(I think some people would be happier if they put down media they don't actually enjoy but only watch/play because the people in their lives do.)

What about playing the game is making you anxious? Is it doing the content? Most can be done solo now, but friends can help with the stuff that can't be, or there's always duty finder. Is it story and character direction? Afraid things will happen to your faves, or they'll grown and change in ways you don't care for? That's a risk in any ongoing media, and up to an individual where their "I'm done" point is where they don't enjoy that lore and canon anymore, and then make the decision to change it in fanfiction or drop the story altogether.

With everyone talking about new content right now, even trying to keep spoilers under wraps, it can be rough for sure. Everyone has opinions! And screenshots! And there's new fanfic!

Is the anxiety because of the WoL you started writing, and how she doesn't "translate" in game, and afraid the lore will continue to make that harder?

In that case, look at what the character is, what you've written...and what the character (your subconscious, really) is telling you they actually are, or need. If they don't fit the canon lore...It's OK. Change the story to fit as needed. Or....play through it and see what ends up working after all, with the benefit of knowledge.

You can't lock a character in stone; a story happens because characters want something (large or small), and in the course of the story they are changed in some way (large or small). WoL is an anime protagonist with plotstrong abilities and gifts that give players a lot of leeway in any direction. Some people don't play WoLs at all. Their OC is a person they roleplay and write about in the setting, the plot happens to someone else, and they just play the video game with that avatar.

So what isn't "translating"? Is it appearance related that can't be done without mods and artwork? Disabilities that likewise are tricky to show in game (which assumes a mostly able-bodied WoL)? A backstory that seems to not fit (the world's bigger than what we see)? A lot of detailed backstory and supporting cast that now make you feel boxed into a corner?

It can be hard, seeing people with deeply developed stories and characters and supporting cast, but you also have to remember: a lot of that is built over time. Aeryn didn't have nearly the detailed list of relatives to start, didn't have the "dad was a secret heretic" backstory until 4 years into playing her. I still haven't named all of Dark's siblings. I've seen some folks entirely rewrite their characters cuz something in an expansion spoke to them and it made more sense and made them happier than what they did before.

When I start overthinking a character story, I put the backstory away, and just play them for a bit. I keep a vague idea of what I think their personality might be, what reactions would seem right. And then I let "them" guide me as I play. And sometimes what a character tells me ends up far more interesting. Or I find the stuff I was anxious about adding to them...ends up being canon, or at least working out, anyway.

And if the concern is what other people will think about one's WoL....well, you can't control what others think. And trying to please everyone leaves you with a milquetoast bland sop who isn't interesting at all. Care about the character you want to write, even if that changes, and make them as interesting as you want.

I was saying in a convo yesterday that the shrieking about "Mary Sue and how to not be one" caused lasting societal trauma and people are still afraid of giving characters interesting traits and stories. A person was anxious about giving their WoL traits that might make them 'too much' or 'too special' but they're traits WoL canonically has. We're in an anime story as anime protagonists, be wild and weird. Not everyone will like it, and that's good, actually. Cuz others will love it, and it means you gave your writing and characters personality.

Final Fantasy XIV is a game that 90% of the time, the content isn't going anywhere. You go at your pace, you enjoy the story and side content. There's a lot, after 11 years. Do what you gotta to avoid spoilers, gushing, complaining, or otherwise talk about content you're not in yet to reduce the worry everyone else is having fun while you're spinning wheels a few expacs back. Figure out what you enjoy and love about the game, and focus on that for awhile. Let your WoL breathe, and just play without plotting out how they translate or fit, and remember stories aren't set in stone; they have to be malleable. Especially when trying to write/roleplay in someone else's world!

You should be in this for yourself. Because you find it fun, relaxing, enjoyable to experience. Because you want to tell a character's story even if it takes a hard left turn from canon lore. And if you have to mute and filter out and block some things and people on social media or chat or whatever, do what works for you. But when overthinking, turn that around and interrogate yourself: "OK, why do I feel this way? Why would this be bad? Do I want this or am I trying to follow the crowd?" Make lists, pros and cons. Figure out if it's actually FOMO and anxiety...or if you're trying to tell yourself something and you're just not listening.

Give yourself grace. This game is just one piece of our life's tapestry, and while there's probably friends who want to see you clear content, the world won't end if you don't catch up to the current patch right away, or write a 200k fic about your WoL's life by year's end, either. Go at your pace.

#final fantasy xiv #lyn prompts #fomo #characters #social media

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howtofightwrite · 2 years ago

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Hello! I have a very particular sort of scene that I've been trying to get right for over ten years now and I can't make it work; I hope perhaps you can help.

A husband and wife duo who have Mixed Feelings about one another are trying to break out of a facility. (He was recently discovered to be a spy, she is a conscripted soldier in the facility. She was sent to escort him to execution but hesitated - I'm not sure where, in the cell, in the hall? - and - he took advantage of this hesitation? she was arrested as a traitor? - I don't know that either, yet - and they end up running through the halls together to escape)

The facility is vaguely sci-fi; think Star Wars Original Trilogy-style weapons, and there is space travel, but technology isn't... wildly advanced. Like it's not all digital and holograms and hand-wavey stuff, it's only a little more advanced than what we have available now. (Like SW OT.)

Point A is them in the cell. Point B is them on a spaceship breaking free.

I cannot get them from Point A to Point B with any kind of plausibility, or without staggering incompetence on the part of the soldiers and commanders in the facility.

They would likely be armed with only her sidearm, unless they happened to grab rifles off of further escorts sent with her?

I'm sorry this is so vague, thank you in advance for any help!

Personally, I’m of the opinion that any scene that’s been marinating in the brain for a long time (especially for years) has deeper structural/internal issues than just putting together action. Just from reading your question, I can feel the way you’ve laid this specific scenario out breaking your own suspension of disbelief. You’ve got several problems that have built up over time and, now, they’re all working against you.

Change if it’s Not Working

One of the best pieces of writing advice I ever got came from being forced to memorize my martial arts school’s Ten Steps to Mastery as part of my first test for black belt. I only remember the first five and I can’t guarantee they’re all in order.

Set a goal

Take action

Pay attention to detail

Practice, Practice, Practice

Change if it’s not working

Regardless of whether you’re practicing a front kick or writing a full length novel, flexibility is important. The more we try to force something to work, the less likely it will. Training flaws into your technique means they’ll be more difficult to correct later. So, don’t forget to stop and look at the larger picture if you feel yourself getting stuck.

Remember, change isn’t failure. Writing is a complex process and not every idea, plotline, character moment, or scene is going to work out when fit into a larger context. And that’s okay.

Outside emotional exhaustion and stress, my writer’s block kicks in when I’ve taken a wrong turn in the narrative or am avoiding a difficult emotional moment that my characters need to face before their story can progress. Something has made me/them uncomfortable and instead of facing it, I’m attempting to avoid the uncomfortable feeling by throwing some other distracting piece, usually action, in the way. I call these moments false notes. I usually hit them when I’m coming at the story from an external perspective (what have I seen other characters do in other stories/films?) rather than an internal one. (What would this character do?)

If something isn’t working, stop trying to make it work. Instead look for what you’re missing, and where the pieces aren’t connecting. It’s usually further back than the scene you’re working on.

My characters are always right. I’m either not listening or going about it the wrong way.

Food for thought.

Your Heroes are Reactively Active

We hear a lot from the writing community about the importance of Active Characters. These are characters who are doing things to move the plot forward. They make choices. They take action. Then, there are passive or, what I like to call, reactive characters. They are characters who react to things in their environment, whatever that is, but they’re not actively making choices. Passive characters get a bad rap in American storytelling tradition (more so than in the wider Western storytelling tradition.)

Passive characters really shine when working with characters who are in settings where they’re struggling to survive. In the real world, passivity is one of the best ways to survive abuse. Any victim of long term or systemic abuse can tell you that standing up and fighting back, especially in situations where you have no power or means to change your circumstances, makes the situation exponentially worse. You’ve got to gray rock it out, suppress, and survive.

Lastly, there are characters I like to call reactively active. These are characters who feel like they’re being active but are actually just reacting to actions taken by other characters. They appear a lot in YA Fantasy, but they’re everywhere. And, because these characters are always reacting to another character’s (usually the villain’s) actions and choices, they get an easy out when it comes to escaping narrative consequences for the things they do. It’s a deceptive sleight of hand used to maintain a character’s moral purity. These characters appear active on the surface, but, underneath, they’re passively reacting to the narrative events inflicted on them. They don’t take action. They respond to action with action.

Let’s get back to your scenario.

We have a husband and wife in some sort of heavily or, at least, decently fortified, military installation. The husband has been outed as a spy, put in whatever functions as a prison or holding cell within the complex, and scheduled to be executed. The wife is a loyal soldier who must now choose between her love for her husband and her love of duty.

This has the makings of some good drama.

The first obvious problem point is that these characters are trying to do too many things at once. They’re coming to terms with their deep feelings of betrayal, experiencing a last minute change of heart, making a snap decision to escape, and rapidly coming up with a plan to escape in the heat of the moment. If this feels unbelievable, it’s because it is and, even better, doubles for putting the characters in a reactive or passive state. The wife character isn’t acting, so much as she’s reacting last minute to the immediate, impending danger. That would be fine if she wasn’t also having to help carry the burden of coming up with The Plan.

There’s the surface level here, where the last minute change of heart is mimicking the kinds of behavior seen in countless other forms of media regarding escape scenes. However, this narrative decision happening in the heat of the moment is also allowing the character to skate over the emotional consequences of her own betrayal. She’s not choosing so much as she’s being forced to make a choice. And that is removing her agency.

If she makes the choice earlier, starts putting The Plan in place with the help of some friends/colleagues (even if it happens largely off page) then executes at the cell, she takes back her agency and retains her status as an active character.

The difference here is in the processing time. Characters can’t plausibly escape fortified lock up without a plan or, really, The Plan.

The Narrative Structure of Last Minute Rescues

The first problem in your scenario is that you have two characters, neither of which are doing the pre-planning legwork required to successfully execute The Plan. Rescues are like heists, they either take a village or require characters who are extremely meticulous and actively manipulating the village to fill in the gaps. (James Bond does Option 2 beautifully, but even he has a team behind him.) Usually, both happen to some degree. The burden is segregated out into different pieces for different characters. Normally, there’s at least three. The character locked up is trying to figure out a way to escape, but comes up short. The one on the outside who is putting together the pieces needed to execute the rescue/get away. And, sometimes, the one on the inside who is experiencing a change of heart, who, at the very last minute, turns heel and assists with the rescue (most often in the turn of misfortune where a piece fails and the rescue is at risk of being bungled.)

All of this additional weight/build up/expectation of the non-existent plan is being put on two characters and crammed into a single scene.

Think about the rescue of Princess Leia from the Death Star for a moment. How many characters are required to make that escape work?

Seven.

All of them. If a single character in the entire group is missing, the whole thing falls apart. Even Threepio is necessary, mostly because Artoo can’t talk. This off the cuff, by the seat of our pants rescue requires all seven characters and they still end up bungling it to kill their samurai master.

You need one to turn off the tractor beam so they can actually escape. (Doing the real work.)

You need one to figure out where the princess is being held, unlock the doors, and figure out where they are.

You need two to bullshit past the guards going in and one to pretend to be a prisoner.

You need one to bullshit past the guards a second time to save the one that can’t talk with the floor plan.

You need the princess to be the one to get them back out because she’s the only one with balls.

And none of it mattered because the escape was a trap all along.

While you don’t need these specific roles for everything, escaping from a heavily fortified facility is not a two man job. That’s where the feelings of implausibility and extreme incompetence are coming from. There aren’t enough characters helping to clear the way or be there as a safeguard for when things go wrong. This feeds into the next problem.

Soldiers, Spies, and Their Squads

We have another unintended scenario brewing at the same time. And that’s the exhausted retail employee going on a rampage and slaughtering their surprised colleagues. This really knifes your tension. By reacting to the immediate danger, the wife is not making an active, conscious choice with full knowledge of the consequences, and those consequences are killing people she knows, respects, is friends with, shares a camaraderie, or who are at least familiar to her. These other soldiers aren’t faceless goons. It’s a lot harder to pull the trigger on someone you know than someone you don’t, especially someone who has the same values that you do.

Soldiers aren’t characters who work alone. They have a squad. They’re part of a unit. They have a support network surrounding them that allows them to do their job to the best of their ability. Spies are the same way. They also have a support network which allows them to act to the best of their ability, even when it feels like they’re acting alone. Spies have handlers and they have assets, their job requires they build their own support networks so they have someone who can get into the places where they can’t. Those people may be witting or unwitting assets but they’re still there.

Both of these characters should have fairly extensive support networks to fall back on when in crisis. They’re in crisis. The crisis is both physical and emotional. Where are their people? Two characters who are social archetypes whose jobs and survival during wartime are reliant on building trust and skillful communication have no one willing to put their lives on the line to help them out? They only have each other? That’s staggering incompetence.

Spies aren’t assassins. They’re social animals. Soldiers aren’t lone wolves. They’re social animals. If there’s a structural failure here, it’s happening with your secondary characters. Ignoring the importance of secondary characters is a mistake that a lot of new writers make and I can feel those early mistakes being carried forward in this scene. This is what Hemingway meant when he said, “kill your darlings.” If an idea isn’t working, if it’s holding you back, kill it. Look at the problem and your work from a new angle. One good line or one good scene, regardless of your emotional attachment to it, doesn’t outweigh the entire work.

Plans and Floor Plans

If you’re having trouble coming up with a character’s escape, step back and take a look at the facility itself. Whether it’s breaking in or breaking out, you, the author, need to have a clear visualization of the entire picture so you can find the weaknesses or fracture points.

Plans are easier to conceptualize when you know what the dangers are and what defenses have been put in place to prevent what your characters are attempting. Which parts of the fortress are better fortified than others? Where does this military expect to be attacked? What have they done to prevent it? What are the patrols? Who are the techs? How does the military support itself while fending off attempts to damage its resources? Who handles the supply lines?

The boring minutiae of your world is what makes it feel real. Action is dependent on your world building and this goes deeper than just their weapons. The social systems in place guide how your characters fight. It’s there in how they perceive their environment, and how they recognize usable tools. If you build a functional and consistent world, the action will take care of itself because violence is a natural response to environmental threats. Violence seeks to exploit established systems, to gain an advantage over them. If the violence is imagined separately from the environment, the violence won’t feel real because it’s not reactive and it’s not reacting to environmental stimuli. From there, it’s not logical.

Ask yourself, why do we use guns?

Then ask yourself, why do your characters use guns? What does it allow them to do that they wouldn’t be able to do otherwise? Or, what does the gun do better than other weapons that makes it the preferred choice?

The answer for the real world and your setting might be the same, and they might be different. Both will influence how the character uses their weapon. How they use their weapon guides how they fight. If you’re lost, ask yourself questions.

For example, let’s take a last look at the prison.

Prisons are built with the expectation of keeping multiple people contained for an extended period of time, preventing them from leaving in the event of an escape, and preventing those who are sympathetic from breaking in to rescue them. What have the characters in your setting (not your protagonists) done to facilitate that goal? What safeguards have been put in place to prevent someone from leaving and entering?

In the real world, prisons are built in a way that two people can’t just walk out. There are points of entry and exit that are designed to be remotely controlled from secure locations and cannot be operated or accessed on the ground. You’d need someone (like R2-D2) who can access the remote functions to get someone past the exits that they can’t open themselves.

-Michi

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#howtofightwrite #Michi answers #writing advice #writing reference #writing tips

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the-desolated-quill · 7 months ago

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Furiosa: A Mad Max Saga - Review

Not going to lie, I didn’t go into this film with high expectations. I loved Mad Max: Fury Road, and Charlize Theron’s Furiosa was a big reason for that. So the idea of doing a Furiosa prequel without the woman who helped make the character so iconic in the first place in my opinion seemed destined to fail, even with director and Mad Max creator George Miller still at the helm. Not to mention prequels are notoriously difficult to get right because you’re already at a disadvantage thanks to the audience’s prior knowledge of what’s to come. It’s hard to get people to care about your film when they already know how it will end.

Never have I been so disappointed to be right.

Anya Taylor-Joy is no Charlize Theron. Her shoes would be difficult to fill for even the most accomplished actress, and Taylor-Joy barely touches the sides. I don’t exactly rate her highly as a performer because in the few films I’ve seen her in she only ever seems to have one facial expression; vacant bewilderedness. But in her defence, she really has almost zero material to work with. It’s amazing really. Mad Max: Fury Road was able to tell a compelling story with very little exposition or dialogue. Furiosa, on the other hand, has tons of exposition and dialogue and yet has no story. To summarise the plot would be a fool’s errand because there really isn’t a plot to summarise. There’s some warlord played by Chris Hemsworth, wearing a very unconvincing prosthetic nose, who wants to take over Immortan Joe’s territory, except we know he won’t succeed and his reasons for why are vague and uninteresting. Furiosa gets passed from warlord to warlord like an unwanted sweater, and then she remembers that her mother was killed by these psychos and she should probably avenge her I guess. Meanwhile Immortan Joe (in name only because the original actor died and this new guy they’ve got cosplaying as him has all the stage presence of an irritable floor manager at your local supermarket) is busy discussing politics with his son Rictus, the People Eater, the Bullet Farmer and that guy from the Mad Max video game everyone has forgotten about. And good God do these guys love to talk. They talk and talk and talk some more, and then Chris Hemsworth arrives and starts talking and talking, and then some guy covered in tattoos starts talking and talking. There’s so much talking in this movie and yet, strangely, nobody is actually saying anything.

This film is an excellent example of the difference between story and lore. Furiosa has loads of lore. Loads of lore. But the story is practically non-existent and the information they provide is neither valuable nor necessary. This film is essentially a theatrical reenactment of the Mad Max wiki. No stone is left unturned. Ever wondered how the Organic Mechanic came to work for Immortan Joe? No? Well we’re going to tell you anyway. Do you want to know how the People Eater came to be in charge of Gas Town? Tough shit if you don’t because we’re going to lay it all out for you in laborious detail. Were you curious as to how the War Rig was built? I hope you were. Because we’re going to dedicate a significant section of the film detailing how it was built and them test running the fucking thing before having to fight a bunch of nameless goons in quite possibly the most boring action scene ever put to film. (This was the cardinal sin for me. I was so bored I actually fell asleep. The only time I’ve ever fallen asleep in a cinema was during that twenty minute underwater sequence in Avatar: The Way Of Water. Dozing off during James Cameron’s CGI circlejerk is one thing. Dozing off during a Mad Max film should be impossible).

It’s hard to believe this was made by the same person behind Fury Road. Back then George Miller seemed to understand that there was no point in bogging the narrative down in pointless exposition or needless backstories. What mattered was the characters, the relationships, the here and now. Remember the scene when Furiosa discovered her home was destroyed long ago and she takes her mechanical arm off, falls to her knees and screams her head off. All that pain and anguish and sorrow and regret all perfectly conveyed without a single line of dialogue. What can a prequel possibly add to this scene? Does knowing that Furiosa’s mother was beaten and burned alive in front of her when she was a little girl make that scene any more powerful? Of course not. It’s just an unnecessary detail that I didn’t need nor do I really care about. She lost her mother. Okay. So? I had already assumed that from watching Fury Road. I didn’t need her life story explained to me in a PowerPoint presentation. I suppose the only thing I was vaguely interested in was how Furiosa lost her arm, and even that is anticlimactic. She basically loses it by accident in a car chase. Now some of you may be getting annoyed that I’m giving away ‘spoilers’, but the truth is there’s nothing really to spoil. There’s no plot. Only lore. Specifically lore nobody really asked for in the first place. They don’t even bother fleshing out Furiosa’s relationship with the Wives. How’s that for irony? Fury Road was deservedly praised for its feminist themes and giving its female characters agency. Meanwhile the prequel has its male characters spouting literal pages of dialogue while the women, including Furiosa, get almost zero development and barely get a line in edgeways. Oops.

Furiosa astounds me. It astounds me that it’s made by the same man who made Fury Road. It astounds me that after nine years of struggling to get this film off the ground that this is the best George Miller can come up with. It astounds me that this cost $168 million to make when it would be much cheaper, quicker and less painful for the audience to just smack them in the face with a copy of the Mad Max Encyclopedia and be done with it. It astounds me that this boring slog of a film is actually getting positive reviews when this is a textbook example of how NOT to do a prequel. I’m just astounded. Apparently this film is bombing at the box office. Good. That may sound harsh, but it’s true. This is one of the most mind numbing, dull, pointless films I’ve ever had the displeasure of sitting through, and I’m never going to get those 150 hours back.

Sorry, did I say hours? It sure felt like hours.

#furiosa #furiosa: a mad max saga #mad max #review #quill has a moan

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aro-geo-turtle · 2 years ago

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TMA’s narrative structure and its reflection in character dynamics

With the end of @a-mag-a-day, I though it would be a perfect time to post this meta-analysis I’ve been thinking about for ages! Its always fun when a story’s ending wraps back around to its beginning in some way, and TMA dips into this a tiny bit via the “can I have a cigarette” moment, but I think the wider narrative structure and parallels in TMA actually get way more interesting than that. Long rambly analysis below cause I’m a writing nerd, and also remember this is purely my own personal interpretation.

I have three main points to make here.

A: season 4 is a twisted mirror of seasons 1 and 2, which act as a singular narrative unit, while season 5 is just like season 3 but more so in every way.

B: these parallels and mirrors between seasons are symbolized through Jon and Martin’s ever changing relationship.

C: the grand finale of Last Words feels like such an abrupt ending because it breaks the pattern established for how season finales are meant to work.

So let’s look at this chronologically:

Seasons 1 and 2 can be viewed a single unit in the overall narrative structure. They follow the same basic premise: Jon in his office at the Institute, alienated from his 3 assistants, trying to find out the truth about the supernatural. They both have a very slow pace, with only a handful of plot-furthering episodes among mostly world-building statement episodes. Then we have a cliffhanger leading into an action-packed climax, and then a calmer epilogue episode to clarify exactly what just happened and set up the new status quo for the next season. There are obviously differences (added supplementals, the paranoia, Gertrude’s murder, you know), but they follow the same general format. We also see the classic Jon/Martin dynamic established and shared between these two seasons: Martin reaching out to care for Jon, Jon rejecting and pushing him away.

Season 3: Status quo? Out the window! Jon’s out of the Institute, traveling the world, we’re gone from the traditional 3 assistants to 4. The goal is no longer vaguely learning about the supernatural, we got most of those answers from Leitner. Instead we’re building towards the Unknowing from the very beginning. And the pacing here speeds up dramatically. So much happens, plot moving forward most episodes. This is where Jon and Martin’s dynamic first changes, too, finally becoming a lot more friendly. Some parts of the format stay the same, though. The ending is still made up of high-action climax episodes followed by an epilogue episode to set up the next status quo.

Season 4 is a return to the format of 1 and 2, but all twisted and reversed. Jon is in his office at the Institute, alienated from his 3 assistants, but it’s a totally different set of assistants (Tim, Sasha, Martin to Melanie, Basira, Daisy). We’re back to the slower pace, but after the mile-a-minute speed of S3, it feels agonizingly slow, a waiting game. The characters spend a lot of time sitting around. We know how the supernatural works, and now Jon’s looking for answers on what he’s meant to do about it. Of course, S4 also sees the reversal of Jon and Martin’s early season roles. Now it’s Jon reaching out and Martin rejecting him. And then we hit the finale and the tension that’s built up all season suddenly snaps. Once again, it’s a high-action climax followed by a slower epilogue that sets up season 5.

Season 5 is obviously the biggest status quo change of all. Literally all the rules of the normal world are shattered. It’s season 3 but even more so. We’re not at the Institute (there is no Institute), we don’t have the typical 3 assistants (that role doesn’t really seem to exist anymore). Like with the Unknowing, we have a clear goal from the very start: get to the Panopticon, kill Jonah, bring the world back. While the pace of 3 is rapid-fire, 5 is a steady march forward, episode by episode. Jon and Martin are once again friendly, and even more so, have finally connected and realized their feelings. And then we get to the grand finale. I think the reason the ending feels so abrupt to me and many others is because it finally breaks the format of season finales. Last Words is the action-packed climax episode but it has no epilogue episode. It just ends.

So, yeah! Those are my points. I just find looking at this all very cool.

#Tma #tma meta #the magnus archives

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jellynyann · 23 days ago

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I have come to bother you for any details on your Fairy Tail Self Insert you'd be willing to share because I am staring. At Samuel my beloved little freak guy. As your Exceed Companion. I would love to know more.

Okay, so when I watched FT for the first time I had a S/I and Natsu was my F/O too, I don't remember it much because I was like 10-13 also ofc now a lot things changed so yeah, my current S/I is different than my first S/I. So when I started rewatching FT of course I had to think about what kind of magic I want to use. I wanted to be a dragon slayer and my fav element is water, but if my S/I is part of the team Natsu (so one of the 'main character') then I didn't want to make myself a water dragon slayer because of Juvia. Okay, then something else that I like - since I was a child I was fascinated by space so I thought it would be cool if I could be a dragon slayer connected to the stars. Then when I was looking at wiki I saw that in fact there is already canon moon dragon slayer magic (and I literally was thinking between moon and stars XD) so I thought I'll go with it and then when I start watching 100 years quest and I'll know Selene (since I didn't know her character at that point ofc) I'll connect my backstory and magic somehow with the canon story so it'll make sense. My S/I backstory is pretty vague because of that and I need to read more of the manga (I finished watching everything but I need to catch up with manga). I think either Selene manipulated me and taught dragon slayer magic or I can learn it from someone else, like idk her mother (if she canonically doesn't appear) or it can be someone from another dimension. Okay so I (my S/I) joined Fairy Tail about 1,5 year before the plot began. I bonded with Natsu quickly because we're both weird and audhd, also I remind him of Lisanna so yeah. It's also why Mirajane is my found family big sis/big sister figure, I love her character and I like to think she likes to treat me as her younger sibling (btw also in my S/I world Lisanna didn't come back because I think it's just better for the plot). Oh also Natsu was breaking into my apartment first, I mean it was 'breaking' at first but I'm clingy so he was breaking consensually if that makes sense XDD After he met Lucy he still spent most of his time at my place but he also was breaking into her place. And I'm also breaking into her apartment sometimes because I want to be with Natsu (and Lucy is my bestie too), so in general we spend a lot of time together (I mean me, Natsu and Lucy). About Samuel, ofc I wanted an exceed, in his first appearance I found him annoying but I really liked his character development and he became one of my fav exceeds and since he's "free" I decided that I want him as my exceed. Also like, me and Natsu would make too much chaos so Sammy is the one who tones me down and is the responsible one XDDD And he's cool. I see him as a bit of tsundere, like he would be so annoyed with me all the time but he would genuinely care for me. After the 7 year timeskip I didn't have a place to stay so I stayed at Natsu's and since I thought about living together before, it just stayed like that. Tbh I don't really see Samuel in his house so he built tiny house literally next to his, so we're like, basically live at the same place but he has his own separate space in which he don't have to endure our chaos XDDDD I ship Sammy x Lily so I see Lily coming into his tiny house a lot, and since Happy lives next door he spends with them time too, later Happy brought Carla (even tho she didn't really want to XD) and it's how Sammy's place became a place of exceed's meetings XD I also totally see Gajeel fighting and arguing with Natsu about Lily spending too much time in our place XDDD Ohh also about the dragon slayer magic, even tho I'm first gen I'm not like rest of the first gen (I wasn't in their program and I didn't have a dragon sleeping within me) so when I joined Fairy Tail I already started to dragonize and I learned transformation magic from Mira so I can be in human form, later I completely dragonized so I'm basically a dragon but I keep being in my human orm since ofc it's the most convenient, I sometimes change into my real dragon form in fights tho.

#proselfship #proship selfship #selfship #proselfshipping #antis dni

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problemswithbooks · 2 years ago

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I keep thinking there are two major problems. First, similar to the heteromorph plotline, Horikoshi just did not spend any time exploring or explaining actual matters of quirks and second, he wants the focus to remain solely on child abuse as a crime. Toga's situation is being asked for us to be believed similar to Moonfish and Tabe? of the Yakuza(also described in Vigilantes) where the quirk dictates the body's needs over rationality. AFO made a similar excuse almost too about having a compulsion to steal quirks except it's he has control. Toga also is too normal to be considered abnormal primarily because he made those types of quirks seem totally abnormal and more like the brainless Nomus, driven by their base desires. The one character introduced late in Team Up Misdions had a quirk that would poison his own body and the government not having made arrangements for him is a heteromorph matter instead that is never explored and nothing like, say, Moonfish.

Also the implication is similar to Shinso's quirk being labelled or the Aoyama's fearing the quirkless label- the parents fear she is a born villain due to her quirk.

When it comes to Toga, Hori is way to vague. I think it's pretty clear he didn't put as much effort into her as he did Tenko and Touya. Heck, even Spinner who I'd say is not one of the main three villains, gets to narrate chapters. The Heteromorph stuff isn't explored as much as it should have been, but at least we get a lot of character growth fro Spinner.

I defiantly agree he didn't really explain or even stay consistent in his world building around Quirks and how much they control/compel people to act. Or even how people treat those who have negative Quirks. This is bad because Himiko's sympathetic angle is built around those things.

As you've pointed out the only characters we've seen who exhibit anything similar to Toga are Moonfish and Tabe. Both are very much side characters who barely show up for a more then a handful of chapters. Tabe gets a bit more characterization, considering he can control himself despite his Quirk because he refuses to hurt his friends and that he is given a few lines of backstory. Meanwhile Moonfish gets nothing despite him being on Toga's team in the beginning. I mean I don't even think if it's established if Moonfish is the way he is because of his Quirk or if he just is a cannibal of his own free will.

No one for the league even really interact with him before he's caught and none really care that's he's gone. He also doesn't make much of an appearance after the break out. I think, he might have been on Toga's team again, but it came to nothing and he's vanished again without ever learning a thing about him.

As for the the guy in the side story, I don't really count it. Supplemental material is fun, but it should be just that, a supplement. I firmly believe a story should be able to stand on it's own, so I take great issue with important plot relevant things being revealed in side stories. This is why the whole thing with Kurogiri and Aizawa's past bugs me because something that integral to the story should have been in the main manga--not a spin-off.

Then we get to Shinso.

To be perfectly honest the fandom's whole "Shinso was labled a villain due to his Quirk" have always bugged me. Maybe that was Hori's intent but it is not presented well. The kids may say his Quirk would be great for a villain, but they don't think he's a villain. They joke about him not using his Quirk on them, but they never seem to legitimately be afraid of him.

Even during the Sports Festival he isn't told he's acting like a villain or getting booed. Ojiro forfeits and doesn't like that he was controlled but he doesn't think Shinso is a villain, or even villainous. Izuku doesn't think he's bad either--he only yells at Shinso when he calls Ojiro a monkey, something we've learned now is a racial slur.

Even Shinso doesn't say he's treated like a villain. The main issue he has with his Quirk is that it isn't flashy. It's not powerful the way Bakugou, or Shoto's is, which makes becoming a Hero hard because standing out is very important. Shinso isn't seen as villainous because of his Quirk, he is seen as weak. On top of that after his fight he is cheered by his class and praised by the Pro-Heroes in the audience for having a Quirk that they would find very useful, some even wishing that was their power.

At the end of the day it doesn't feel like Toga is that compelled by her Quirk. Far to often she can be perfectly fine and talk and interact with her friends the same way as normal people do. She is not nearly as controlled by her Quirk as Tabe is or maybe Moonfish is (since it's not confirmed it's his Quirk compelling him to act).

If she only felt the need to drink blood from people she was attracted/romantically interested in that might explain it, but it's been shown that's not the case. She turns into and uses Twice's Quirk despite her not being romantically in love with him, and she berates herself for not being able to access Shigaraki's and Dabi's Quirks even though she loves them as friends. Most recently we even see that she was driven to suck the blood of a friend, not a crush.

So, we have two very conflicting ideas. Toga is both forced by her Quirk to drink blood, but on the other hand she's not. It really is only the whims and needs of the author that drive how much blood lust she has at any given time. If she needs to have a normal conversation with her freinds she's fine. If she needs to blush and flirt with Izuku and Ochako she's suddenly unable to stop her self from pulling out a knife.

It kneecaps any sympathy Toga should get because I just don't get why she goes from understanding how people work, and how to hold conversations to suddenly not understanding basic communication skills. I don't feel like her Quirk blinds her to what consent is or the idea that people feel pain when you stab them for blood, or that maybe someone might not want to maybe die to provide her with blood. Instead it seems like she can, when she wants to, not jump people for blood but just decides who gets that courtesy and who doesn't. The LoV don't get stabled, Izuku and Ochako do, and for Toga she thinks they should be happy with it, even though she probably doesn't do the same to her friends because they would be just as upset with her.

#ask #thanks for the ask!#bnha #bnha spoilers #mha #bnha critical #anti himiko toga

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