#from the settings to the characters to the story itself

[sammakesart]

Castles in the Fade, or What Was the Point of the Veil Anyway

Something that will now haunt me until the end of time is why was the concept of the Veil ever introduced into this series.

We’ve been hearing about it since the very first game. There’s a codex entry about tears in the Veil in Origins. Tamlen mentions a thin spot in the Veil if you play a Dalish elf. Sandal has a prophecy in Dragon Age 2: “One day the magic will come back—all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see.” Admittedly, this is just one line said by a character who often says odd things, but it hinted to the fact they were planning to do something with the Veil from the very beginning. The state of the Veil is repeatedly brought up. It all had to mean something! Or so I thought. 

When I saw “The Dread Wolf Rises” quest in Veilguard, I said, “Oh, here we go!” The Veil is coming down, magic is coming back, and it’s going to set up such an interesting story for the next game. 

Alas, no. 

I hadn’t really enjoyed my time playing Veilguard up until this point. It felt like the game was ducking and dodging every bit of world building and lore that could possibly bring nuance or complexity to the story. Every returning character or faction was a cardboard cutout of themself. They shoved Solas is a time-out box and gave him nothing to do. They refused to let him have any impact or influence on the story when he had been set up to be our main antagonist back in Trespasser. This game used to be called Dreadwolf! And while we learn about his past… we never talk to him about it. In the present, he’s in stasis.

Elgar’nan and Ghilan’nain are our villains. And they are your typical evil for evil’s sake villains. They are mad, bad, and only as dangerous as the narrative will allow as to not give Rook and co too much trouble. They are surprisingly patient while Rook fixes all their companions’ problems… until Elgar’nan moves the moon to cause an eclipse. A vital component in making his own lyrium dagger. For some reason. This guy can move a satellite!? And he just let Rook walk away in previous encounters… twice. Ok. Sure.

The Evil Duo need their own dagger ostensibly to tear down the Veil, because they want to unleash the full force of the Blight onto the world. Because they are evil. And they were thwarted last time they tried to Blight the entire world. Why do they think Blighting the world is a good idea? What’s the point of ruling a world if everyone is dead? I guess they haven’t thought that through, because of the madness and the evilness.

Ok, I thought. Perhaps the gods will be the one to tear down the Veil. Or maybe we’ll have a choice to let Solas do it his way before they can, which will be less chaotic and less full of Blight. Because the Veil has to be coming down one way or another? Why introduce the concept of the Veil, especially a Veil that has been thinning and failing since the series began, if it’s just going to… stay.

There is a principle in storytelling called Chekov’s gun. If something is mentioned in a story, it must have a purpose. If you keeping mentioning that gun hanging on the wall over the fireplace, it’s because at some point in the story, someone is going to take it down and use it. The Veil felt like Chekov’s gun to me. Chekov’s Veil, if you will. It’s been here from the beginning of our tale, the spectre hanging over our protagonists’ heads for multiple games.

The Veil has been a character unto itself. It was the central focus of the third game, and its dissolution was set up to be the core conflict of the fourth game. We learn everything we thought we knew about the Veil was a lie. It was not created by the Maker to separate the Fade from this world because of jealous spirits, it was created by a guy named Solas to trap the elven gods and the Blight from destroying the world. Also, the elven gods were never gods, and they are also evil.

This reveal will surely throw the Andrastian religion into chaos! This puts the very existence of the Maker into question! The Evanuris are a lie; it’s only fair Catholicism—oh, I mean—the Chantry is a lie too. We briefly touch on that in Veilguard… then it is quietly discarded. Religious crisis averted.

But I digress.

When the title of the fourth game was changed from Dreadwolf to Veilguard, I started to see the writing on the wall. Still, I held out hope the Veil would have some greater purpose in the story. That its introduction as a concept was for a reason. That something in this world would change.

Instead, from the get-go, the question of the Veil is no question at all. We only get Solas and Varric making oblique or catastrophizing statements about it. Solas says little beyond he has a plan. If I ever wanted to hear a villain monologue about their plan, it was now! Varric, on the other hand, decries Solas’s plan. He warns that should the Veil fall, it will destroy the world and drown it in demons. And that’s that.

We never really learn why Solas wants to tear the Veil down, or why he thinks it will help anyone. “The Veil is a wound inflicted upon this world. It must be healed,” he says. And that’s basically all he says about it in Veilguard. In Inquisition and Trespasser, we learn it took the immortality from the elves. It cut most of magic off from the world. Spirits are trapped and are being corrupted into demons, and most of what we know about spirits and demons is wrong. There are ancient elves possibly asleep? That part is left vague, but ancient elves are still about. We meet some in Mythal’s temple. There seems to have been some merit in bringing it down, because elves were flocking to Solas’s cause at the end of Trespasser. He had agents working for him already. What do they know that we don’t know?

Apparently nothing, because by the time Veilguard rolls around, there are no mention of agents. He is working alone. His only motivation now seems to be he’s too deep in his sunk-cost fallacy. The Veil is unnatural, so it must be removed—consequences be damned. We are never given any reason to think Solas has a leg to stand on in his pursuit of tearing down the Veil. We never hear any kind of counter argument from anyone, not even Solas, as to why the Veil should come down. We are only told it will destroy the world. It will drown the world in demons. This is all Solas’s fault.

There is no nuance. No complexity. No moral quandary to mull over. The game gives us vague warnings with no explanation as to what exactly is so world-annihilating about the Veil coming down. We must take Varric’s word at face value. We’re the heroes; Solas is the villain. Stop him.

It makes me wonder why Solas was ever a companion in Inquisition, let alone a romance option. Solas was presented to us as a complicated character in Inquisition. We had the potential throughout the game to make him see the value of this world, to help him realize he was wrong about it. “We aren’t even people to you,” the Inquisitor says in Trespasser. Solas replies, “Not at first. You showed me that I was wrong...again.” He began the third game viewing the world as tranquil, seeing the people in it as nothing more than figments in a nightmare, just as we saw our companions in the In Hushed Whispers quest. He ends the game having made friends, having recognized he was mistaken. He might have even fallen in love. (Or he may still seen no merit in this world if the Inquisitor antagonized him the entirety of their time together.) But something makes him continue with his plan to tear down the Veil, despite recognizing this world is real. He must know something we don’t. Something we’ll learn about in the next game.

We’ve been hearing about the Veil for three games now. We’ve set up our complex antivillain for the next installment, and he’s going to tear the Veil down. We swear to stop him or save him. But it has to be more complex than that. It can’t be so straightforward. Uncomplicated. Simple. Boring. Right? Right?

Nope. He really is just the villain, mustache-twirling and all. He apparently had no greater motivation, no as of yet unrevealed knowledge that would put this whole Veil thing into a new context. It was really as simple as the Veil falling will destroy the world, so Solas must be stopped. There is no new information that is revealed which makes us question what we are doing. Solas is never given any nuance or complexity to his actions. Nuance and complexity have actively been taken away. Both him and the Veil are looking like they are the worst things to be in a story: pointless. Why introduce the Veil if it’s just going to remain unchanged? Why introduce a character like Solas, bother humanizing him (for lack of a better term), giving us his backstory, setting him up as a cunning antagonist, only to make him look stupid, then put him on a shelf until the last ten minutes of your game?

Solas was the trickster archetype of this tale. He was our version of Loki from Norse mythology. What is the role of the trickster archetype? To challenge the status quo. To bring about events of extreme change, like say, the tearing down of a Veil that holds back all of magic. Loki is a huge contributing factor in Ragnarök. Through his manipulation, he causes the death of the beloved god, Baldr. This ushers in a long winter, which signifies the beginning of the end. Loki is imprisoned for this crime. When the final battle between gods and giants begins, the sun and moon are swallowed, plunging the earth into darkness. The earth shakes and Loki is freed to fight on the side of the giants. The world burns in raw chaos, falls beneath the sea, and is reborn. The world is remade, and a new realm of the gods and a new, better earth is formed.

It really felt like this was the setup they were going for. Solas causes the death of Mythal, and this is his catalyst for creating the Veil, which ushers in a world without magic. This could be seen as equivalent to the long winter. Solas falls asleep, trapped in dreams. He wakes and sets in motion bringing about the apocalypse. It’s not a perfect one to one, but it’s there if you squint. We have a war against the gods in Veilguard. I was expecting a few remaining Titans to wake and join the fight. But we don’t get any of that. There is a final battle, but it does not end in the end of the world. Or a better world. It just ends, and everything is the same.

It seems our trickster god caused his apocalypse thousands of years before our story started, when he created the Veil. His role in this tale was over before ours began, and he really is just some relic from a long-past age. He has no role, no purpose in this story. He is here to be thwarted. He is no Loki at all.

If you can’t tell, I wanted the Veil to come down. Did I think the Veil coming down would be painless? Have no negative consequences? No. Of course not. But keeping it up has negative consequences too. And it made for an interesting story. Or at least it could have. But we never explore that. The game presents no counter argument to having the Veil stay up, which, again, begs the question: what was the point of introducing the concept of the Veil at all?

Did I think the Veil coming down was actually the best solution to help Thedas become a better place? I don’t know, and I never will, because the game never argues for it one way or another. It just tells you to want it in place and to stop asking questions. In real life, a catastrophic event is not the best way to solve any of the world’s problems. But this is the realm of fiction. We have gods and monsters, magic and myth. We have introduced the status quo of Thedas, recognized it needs to change, then our trickster god appears ready to fulfill his role in the narrative. 

Instead, it all comes to nothing.

I got to the end of Veilguard… and everything was more or less the same as it was at the start of Origins. Veilguard actually tries its hardest to pretend any previously mentioned problems don’t exist, so of course the Veil coming down has no merit. There are no problems to solve in this world, apparently. Solas is just stuck in the past and can’t get with the times. Silly Solas.

The Veil isn’t even a permanent solution. It wasn’t to begin with. It was some duct tape wrapped around a broken pipe, and we’ve just slapped an extra piece of tape on it. It’s still leaking. It is still unnatural, and will fall eventually one way or another. Large amounts of bloodshed weaken it, so I guess Thedas better achieve world peace real quick to avoid any battles. There were seven super-powered mages holding it together… now there is just one. Ironically, the Veil was going to fall after two more Blights anyway. The Wardens were doing Solas’s work for him! It would also have released the full force of the Blight at that time… which Solas was trying to avoid, I presume.

It feels like keeping the Veil up just pushed a big problem onto Thedas’ future generations. We’ll keep slapping bandaids on it until it all falls apart. Someone else can deal with the fallout, but we’ll be dead by then, so who cares.

Primarily, I wanted the Veil to come down from a storytelling perspective. The Veil was an interesting concept and I wanted the story to do something interesting with it. Conflict is what makes stories stories and the Veil coming down could create so much compelling and complex conflict. And the Fade is weird, and I like weird. Stories are also about change, and I wanted to see Thedas change. Yet, Veilguard is over, and barely anything has changed. Instead of magic coming back being a conflict for the next game, they went with Fantasy Illuminati. Oh.

The Veil turned out to be a nothing-burger, and no problems in this world are even close to being solved. Slavery is still rampant in Tevinter. The elven people are still oppressed everywhere. Mages have no more rights in the South than they did in Origins. Spirits are still trapped and being corrupted. The Calling still exists, though might be different somehow now? They don’t really get into that. The Chantry’s validity is still not allowed to be questioned. The Blight still exists in some form, but again it’s vague. Oh, and we learn the dwarves have been gravely wronged, and the Titans are still tranquil. At least if you redeem Solas and a romanced Lavellan joins him, they can work together on healing the Blight and helping the Titans. Oh, good. One problem is being acknowledged and some action will be taken. Offscreen. Hurray? Solas doesn’t have a really great track record of fixing problems, so Lavellan is definitely going to need to be there to make sure he doesn’t fuck it up.

For some reason, this game seemed terrified of letting us think about anything for more than two seconds. It shied away from complexity or nuance at every turn. The game is called The Veilguard—ironically, that word is never uttered in the game—but we are given no real motive for guarding the Veil. We’re unquestionably the hero. The villains are uncomplicatedly evil. Save the world… never wonder what you are doing or why.

I wanted the game to make me question if the Veil staying up or coming down was the right choice. I needed to be given a real counter argument. Convince me the alternative would actually be better or worse, because as I mentioned… things suck quite a bit in Thedas already for a lot of people right now. Let the Veil’s fate be a difficult choice to make. If the conflict cannot be what to do about the Veil, it should be am I doing the right thing about the Veil. If the heart of your game is so thin on motive, everything else falls apart around it.

I hoped they were setting up a complex, Thedas-sized existential conflict for this game in Trespasser, but no. I wanted something to happen, but nothing did. 

I want to feel challenged and changed by a story, not left feeling empty. I’m tired of superficial entertainment. I want to sink my teeth into a narrative that doesn’t paint the world in broad strokes of black and white, good and evil, heroes and villains.

Ultimately, I think my issue is why even introduce a concept like The Veil if you’re not going to do anything interesting with it. Or anything at all. What I thought was Chekov’s Veil turned out to just be a MacGuffin. And that’s disappointing.

[starfieldcanvas]

my working definition of conservatism is "the belief that there should be a group the law protects but does not bind, and a group the law binds but does not protect." and that, too, lends itself very well to stories about protagonists who bend the rules to get things done while the narrative makes it clear it's okay because they're the good guys.

fiction in general lends itself very well to a kind of exaggerated 'fundamental attribution error'—we're inside the protagonist's situation and understand why they make the choices they do, we're rooting for them to manipulate the system or get their well-deserved revenge or whatever, but when enemy characters get ahead or get revenge on the protagonist etc etc, they inevitably come off as less deserving of our empathy. when the poor character suddenly becomes rich and can now ruin the lives of the service workers who looked down on her, we aren't stopping to think "hmm, this system where rich people get to order others around is pretty fucked up, nobody should be allowed to do that to service workers," we're just cheering because the correct person now has the power in the situation.

naturally in the moment it feels great! we know for a fact this is The Protagonist, the good character! she won't misuse the power, just threaten people with it a little when they really for sure deserve it! she's a perfect candidate for a law that protects and does not bind! buuuuut of course that designation doesn't exist in real life. which makes "reward the Good Characters" a spectacularly shitty way to run a country.

in real life, hurting someone doesn't become good just because you can point to a reason they deserve it. in real life, having one set of rules for the 'good guys' and another set of rules for the 'bad guys' is how you get boeing executing its whistleblowers while luigi mangione is charged with terrorism.

ok. so we're accustomed to this baseline level of good guy-bad guy double standard in our media, and that makes room for conservative messages. then what's the difference between media with a conservative message and Conservative Bad Art?

my theory is that when the basic underlying assumption of "empathize more with the protagonist and their cause than you do with the antagonists" becomes "empathize ONLY with the protagonist, everyone else is just trying to destroy the status quo for no real reason", as it does in conservative media that's trying to be conservative—especially religious conservative media where progressive belief is indirectly (or directly!) attributed to Satan!—it tends to ruin the audience's suspension of disbelief.

"sure global warming is bad and is killing the planet, but these environmentalists are trying to fight back by stealing alien technology to blow up chicago! they've gone too far!" is a conservative message in a mainstream movie plot. by contrast, "the environment is totally fine actually! these environmentalists are stealing alien technology to blow up chicago simply because they hate how much Americans love capitalism!" is a conservative fever dream. trying to turn a conservative fever dream into Art That Owns The Libs will not work. the disconnect from how motivations actually work in real life is too great and everything will inevitably feel forced and unsatisfying.

plenty of people with conservative mindsets are still good students of character, good enough to model human behavior fairly well in fictional works—even when they're coming to the wrong conclusions about the causes for that behavior, even when they don't really see their marginalized characters as equal to their privileged ones. as long as they're paying attention to real human interaction, real human history, etc, and trying to capture it as best they can, they'll turn out compelling works.

it's when your commitment to your ideology supercedes your commitment to modeling the reality of human behavior that the quality of your work begins to degrade noticeably.

There's currently a few videos going around tiktok trying to answer the question of why conservatives can't make good art and I think that the premise there isn't necessarily true. Lots of conservatives have made good art, and a lot of that art even has pretty blatant conservative messaging it in. But I think people who say this are getting at something in the sense that whenever a conservative idealogue makes art that is designed specifically to reinforce their conservatives views to a similarly oriented audience, those works are almost universally abysmal dogshit. Like the first Ghostbusters movie works better as conservative propaganda than like... Idk, God's Not Dead, because the people who made Ghostbusters didn't sit down to be like "hmmm how can we really own the libs with this one" like that instinct is what actually destroys the quality of a work

[pamillie]

I feel like the more I surf the Dandandan tag, the more I come across people grossly misusing the term “fan-service”.

Here’s my take no one asked for.

(A read-more for descriptions of SA, etc)

The depiction of nudity, the SA, and the bodily violation shown in Dandadan are meant to make viewers uncomfortable at times, but are also meant to convey humor or terror or to be relatable.

I think the story exists in this balance between being whacky and goofy and not taking itself seriously while also having these very mature moments with depth.

The murdered girls in the bound spirit that Turbo Granny was guarding. The exploitation and violence that Acro Silky experienced as a woman- just as the two most prominent examples in the anime so far (there are so many more in the manga).

But time and time again, the teenage characters themselves are not being overtly sexual. Sure, there’s ball jokes and awkwardness and the like. But it’s never escalated to the point of making the characters seem horny or perverted.

I think Dandadan is a lot of things. It’s wrong to say that it’s totally and intentionally a gritty and symbolic metaphor for sexual violence just as it’s wrong to say it’s nothing more than a stylish battle shonen or a raunchy romantic comedy.

What I think it does strive to be though is universally relatable. Women and girls can (unfortunately) relate to the depictions of SA we see through Momo. Young men and teenage boys can relate to feeling worthless or useless based on a perceived lack of masculine traits like Okuran does. Or the feeling that they have to craft a likeable or palatable persona just for others to value them- despite the grief or loneliness they’re experiencing privately- as Aira and Jiji experience.

And not for nothing- I think the point I keep coming back to when I try to explain the appeal of Dandadan to other people is how it captures how SIMULTANEOUSLY traumatizing and precious being a teenager is.

Puberty is inherently traumatic. Going about life as a child only to suddenly be ogled like an adult, when all the while you haven’t even come to terms with the changes going on with your body? It’s terrifying. It’s vulnerable!

Is Momo still ‘valuable’ after being called a slut or being pursued by older men? Is Okuran still a ‘man’ even if he lost his junk?

People keep saying that ‘the story could be exactly the same with aged-up characters and then it wouldn’t be gross’ but I disagree. The story would NOT be the same.

Because something else you gain with puberty and growing up is a radical and empowering acceptance of yourself. It’s this scary uncharted territory of deciding who you are and how you want to be perceived by the world. It can be a rejection of who you were before or boldly asserting who you’ve always been. There are other times in your life where you will change or develop but there’s a reason coming of age stories set from around 12 to 17 are so timeless and universal.

The fact that Tatsu is telling this genre-bending subversion of a story in a generic high school setting is actually the most genius part about it in my opinion.

It takes itself just seriously enough to be emotionally gripping and realistic while also reminding you that the most embarrassing thing that ever happened to you probably wasn’t even that bad- you were just fifteen.

So anyway- stop calling it fan service. And just accept that stories about puberty deserve to exist. Especially if they can accurately portray both how hilarious and traumatic it actually is.

[multifandomloverthrowaway]

What Sky’s Character Should Have Been

(And why her and Viktor needed to be canon.)

This is LONG, and just my opinion. Please be nice!

In storytelling, each character, each scene, and each literary device is crucial for the advancement of the plot. If any is over or under utilized, the story remains cluttered or incomplete. That being said, it truly is a tragedy how horribly the characters, especially the Zaunite characters, came to be treated in season two. The characters and arcs set up in season one are butchered, and Viktor’s story is particularly disappointingly miswritten by the authors and misrepresented by the fandom, and we see this in the narrative and to a certain extent even fan treatment of Sky.

Sky is a ghost. Her presence, while tangible in the story, is not fully realized to the audience. We do not get to know much of her besides her interest in Viktor and a small flashback indicating that they knew of each other in their youth. Thus her existence and her death are ultimately unsatisfying; we do not know enough about her to be able to connect with her, and so she is ultimately only perceived to be an object to propel Viktor’s descent, even though we do not know much of his feelings towards her either. This is an unfortunate misuse of her as a supporting character, especially when it has a good potential reason to exist other than to solely be Viktor’s love interest.

Before understanding what Sky can represent, let us first define her in the context of the setting, particularly in relation to the characters that she supports. I have touched upon this in more detail in my Viktor character analysis posted, but for the TLDR:

It is clear that Jayce and Viktor are foils to one another. The difference in their opinions on Hextech sets them up to be a parallel to an important aspect of the class struggle set up in season one: Even when the oppressed are “good enough” to compete with their privileged peers, the resultant treatment by the oppressor between both is starkly different. Where the privileged will be lauded and commemorated, the oppressed will only be served minimal acceptance and approval. Thus, their characters and how they interact with one another, as well as the characters of their immediate mutual contacts and their own corresponding interactions, should serve explore this struggle further, especially when it comes to Sky, Mel, and Heimerdinger.

So Sky, like Viktor, should show how Piltover can misuse Zaunites against their hometown. However, to keep her character separate from him, unlike Viktor, who loses himself getting out of this trap and back to Zaun, Sky must be lost to trap itself. She must show just how inhumanely far Piltover will go in exploiting Zaun to maintain its subjugation over the latter. Like we see with other innocent Zaunite background characters that are killed by Piltover on the battleground, Sky must represent those that are killed in softer, more covert methods: through the extraction of Zaun’s finest intellect and the resulting false diplomacy. We must eventually see how Piltover indirectly kills her for being Zaunite, even though we know she is killed by Viktor and the Hexcore.

Sky then needs to have a fleshed out background that indicates of her optimism, grit, and innocence. It does not have to be as in depth as that of the main characters, but the audience must be shown the following:

Her academic prowess that indicates how she can capture sponsors and spin her botany research to help Zaun into something that Piltover thinks it can also benefit from. From which councilors or patrons does she benefit? How and why?

Her motivations for Zaun. What does she view an ideal Zaun to be? What would its relationship with Piltover be? We know she wants to make it better by creating natural greenery, but why does she choose to do so in Piltover? What pushed her to apply to the academy?

Her relation to Viktor, the only other known Zaunite at the academy. Did they interact more than that one time in the river? Were they friends or mutuals? How did Viktor help her get a position as his assistant and why? We know she is fond of him, but what about the other way around? What are their experiences at the academy like? How do they interact with casual prejudice? Do they stick up for each other? Do they find support in each other?

We must see her struggles to successfully obtain funding and traction for her own research due to Piltovan pushback and prejudice. (In this case, she must be in the same research group as Jayce and Viktor, but no longer their assistant as a decade is far too long to remain as such. She will be tied to Jayce’s name but not under him or Viktor.) This needs to be shown to contrast Jayce’s ease in becoming a councilor and gaining enough authority to push out Heimerdinger to further his and Viktor’s research. We need to see her project take the back seat because it is not the project that Jayce is directly tied to. We must see her have to to be careful and planned in who she talks to, how, and what she is able to get from them. This would provide a perfect parallel to Mel and about how being outsiders provides challenges when it comes to change; one being born into power with an imperialist upbringing and getting past Piltovans gracefully to a councilor position to invite it, and the other having no power and so relying on the street smarts and a resource seeking mindset from a more impoverished background to scavenge for it… yet both using the same methods (smooth talking, strategic connections, etc.) to do so.

We need to also know her relationship with Zaun and her perception of Piltover. She must be shown to nurture her feelings about the unfair treatment of her home into a more determined and optimistic view of potential equality and diplomacy, and their growth over time with her and Viktor’s research and their duty to represent Zaun. We should see her friendship with Jayce. We should see her interact with Mel and Heimerdinger. This not only lets the audience sympathize with her by empathizing with the struggles she faces above and her defiance in face of them, but also contrasts Viktor’s internal anger about Zaun and Piltover that he lets fester with his growing ailments and erasure of academic and technical contributions. This contrast sets her up nicely to symbolize the “good that could have been” in the relationship between Zaun and Piltover, and thus by extension, between Viktor and Jayce - hence her initial role as their assistant, and something that is cast aside as each character grows more towards their goals rather than the partnership.

This also sets her up to personify Viktor’s humanity. We’ve seen them meet. Let us see them study together, build things together, perhaps even fend for essentials together. Let us see how and why Sky fell in love with the Viktor from her youth. Let us know of Viktor’s endearment of her as we see him choose her to be his assistant. Let us see how they interact after facing prejudice from Piltovans and band together. Let us see her meet him when he’s on the hospital bed. Let us see her and Viktor be protective of and vulnerable with each other as they face the enemy. Let us see them bond just like we have seen him do so with Jayce. With Sky, we can see Viktor’s insecurities and his empathy like no other character can; in her we can see what makes him human.

This is integral to Viktor’s character and his arc. Whereas Jayce can actively work towards a future for his life with Mel and his career outside of Hextech, Viktor does not have the same luxury due to his illness. He cannot pursue anything but Hextech because his life and the lives of his people are on the line due to Piltover’s control. And that is precisely why when Sky loses her life due to the technology, it isn’t just Viktor that kills her. It’s Piltover’s waste, Piltover’s luxuries, Piltover’s unfulfilled promises that do. And Viktor realizes that after. Sky, in all her optimism, is fundamentally what Viktor could have strived for had he not let his anger and urgency spiral. As a mirror to Mel and Jayce, Sky is not just Viktor’s past but also his hopes for the future. And he realizes that he and Zaun has lost what could have been.

By giving Sky agency, we see just how much she could have done for the plot. But seeing how much the story fumbled Viktor, it’s not surprising to see her get “fridged” twice. I hope I did her justice!

If you’ve read this all, you deserve all the desserts. Thanks for reading!

[mortalityplays]

Does it seem like Infinity Nikki is building on the lore in the previous games, or is it doing its own thing? It's been a few years since I played Love Nikki Dress-up queen, and all of the proper nouns seem to be different than I remember.

Okay let's talk about Nikki lore!!!

if you've come straight from Love Nikki, Infinity Nikki probably feels strikingly different and yet eerily familiar. It presents itself as a clean slate for new players and a straight reboot for returning players, with Nikki and Momo encountering a magical outfit and being pulled into Miraland where they learn a whole new set of terms and mechanics for the dress-up game you're about to play. All the proper nouns have changed - 'styling power' is still the same, but now magic and tech are 'whim' and base currency is 'blings' etc. The story, setting and characters are all a little different too. So it's a total reboot for the new format, right? Makes sense.

TL;DR: for everything I'm about to unpack:

Doylian answer: IN is a clean reboot of the basic isekai premise, allowing them to easily onboard new players and update the core nature of the game.

Watsonian answer: the reboot is itself part of the ongoing canonical lore of the Nikki series!!!

The context you're missing is Shining Nikki. SN actually pulled this move first - it was a total overhaul of LN to move the series from 2D paper doll graphics to full 3D models, and like IN it seemed to begin the isekai type story of LN again from the start. Not too many people in english speaking markets played the first two games in the series (Nikki Up2U and Hello Nikki), but what you need to know about them is that they were both set in Nikki's own earth-like world, where fashion was an ordinary element of everyday life (i.e. the player was asked to dress her appropriately for real-world situations, with the context that she was an aspiring fashion student). They were also direct instalments in an ongoing story.

Here's the timeline up to where you stopped:

NU2U: Fashion student Nikki and her talking pet Momo practise her skills as a stylist in everyday situations. Though it's usually played as a joke, both Nikki and Momo acknowledge that he's a 'cat-like thing' - not really an earth cat.

HN: Nikki and Momo travel their world, finding styling inspiration in different locations / through meeting various characters. Some of the costumes she creates in this game continue to appear through each sequel as lower-level outfits, implying continuity.

LN: The first game that really broke through in english-speaking markets, and the first in the Miraland cycle. Nikki is preparing for graduation, when she finds a mysterious outfit in the attic. Touching it gives her a vision where she glimpses a strange realm brimming with fashion-related power of some sort. When she comes to, she and Momo are in a field of flowers. They've been transported to another world called Miraland, where styling has literal magical power that's used to settle disputes in place of violence. She embarks on a quest to attain a set of uniquely powerful dresses at the centre of a burgeoning magical/political crisis, in order to save Miraland.

^ Big sideways jump, right? The Doylian explanation for all this is very mundane. They have to keep rebuilding this game for newer phones, and updating the graphics/mechanical gameplay as the series goes on. There are only so many times you can ask a player to dress Nikki up to go to a café or whatever, and the isekai genre is massively popular among the target playerbase. BUT they retain the canonical continuity of the series with LN - Nikki frequently refers to her sister Yoyo and their travels around the world throughout LN and SN, and Momo hints that Miraland may be the origin of his clan (or at least tied to their origin somehow). It would have been an easy place to wipe the slate clean, but they didn't.

And then comes Shining Nikki. On starting the game, Nikki speaks to you directly from a meta-realm where you set up your username and get introduced to basic concepts. Nikki has an encounter / vision with a mysterious figure related to this styling meta-realm, and then she wakes up. She and Momo find themselves in a field of flowers, in a world called Miraland - sstop me if you've heard this one before.

SN is where things started to get really interesting, and where I suspect the writers started laying down some intentions for the series going forward. As Nikki travels around Miraland, she runs into a variety of people and places that are reminiscent of, yet different from, the cast and setting of Love Nikki. And little by little, she begins to recover memories of that game.

As it build towards its climax, SN does one of the coolest things I've ever seen from a rinkydink fantasy mobile gacha. Nikki comes up against an opponent she can't beat, and you're asked to style-battle them again and again. She starts to dissociate and refuses to back down, and then- well at this point my phone couldn't handle the 3D effects and it booted me back to the game's home screen.

SN was pretty ambitious with its 3D elements, to the point that the home screen itself featured a 3D nikki you could dress up, who would move around and strike poses, and spit out lighthearted quips when you tapped her ('I wont give up on my friends!', 'If Momo eats any more BBQ he's going to turn into a beach ball...' etc.) So anyway, my game was locked up apart from homescreen Nikki's idle animations. And then she started talking to me, by username, commenting on the defeat she was suffering repeatedly in the story chapters.

At this point, SN introduces the idea that the player is (from Nikki's perspective) a powerful being from another parallel world, who has been influencing her styling choices the whole time. It also introduces a meta-meta-realm where outside observers can access people's memories to subtly alter their world's timeline. When I say this game got high concept...they had a limited-time event at one point where Nikki essentially explores the lingering cognitive dissonances left behind by the inhabitants of Omelas. I'm insane about this series. Anyway.

A LOT went on in SN, but what you need to know is this:

Nikki learns that she found herself in the story of SN because she went back in time 600+ years from the events of LN in a last ditch effort to prevent the apocalypse she failed to avert.

By accessing the Ocean of Memories, she also learns that this is not the first time she's done this. She has been stuck in a time loop for thousands upon thousands of cycles, perpetually failing to save Miraland, going back in time, and creating new causal offshoots that she again fails to save.

Nikki realises that by doing this, she is perpetually rebooting the lives of all the friends she keeps meeting and bonding with and then failing to save, and wrestles with whether this is ethical. Ultimately she decides to persist, determined to save Miraland.

Now here's the million-dollar question: Is Infinity Nikki a straight reboot, wiping the slate clean to simplify the lore and onboard new players? Or is it a continuation of Nikki lore to date, setting her on a new cycle in the same sequence? I would answer: yes and yes.

Every game in Miraland seems to follow a certain pattern with minor changes, and IN is no exception:

Nikki arrives in a tutorial zone themed around cosy rural villages and flower fields.

She meets a friendly girl who introduces her to Styling and its role in Miraland, and who puts her on the path to her first set of competitions (rip Bobo greatest anime betrayal of all time)

Nikki gets drawn into a political crisis centred on Miraland's system of styling contests, inevitably involving mercenaries and corporate espionage at some point.

Reference is made to an ancient fallen monarch who had a personal connection to certain outfits of immense power.

Reference is made to an elusive but powerful spiritual being (a god, a prophet, ???) whose divine power is bound up with the mysterious source of Styling Power.

Nikki encounters a reclusive society of magical beings whose life force depends on that same power source.

She travels to a variety of regions including Fairytale Forest, Gothic Lolita Town, Literally China, Uncomfortable Desert Realm, Big City, and Separatist Tech Freak Island. [in progress]

War breaks out somewhere and Nikki ends up on the run [hasn't happened yet, but I believe]

Vampires/demons get involved [hasn't happened yet, but I believe]

There is a goofy yellow mascot that looks like a fat duckling. [I'm a Gifty truther, what does it all mean.]

So far we're only a few chapters into IN, but I can already see a lot of familiar pattens starting to take shape. Factions are an interesting twist on regional styling competitions, and elements like Eureka and the Mira Crown contest (and the repeated motif of mirrors and fragmented crystals) look a lot like the seeds of more meta-realm content to me. Well, and the actual literal meta-realms accessed via waypoints and whimstars.

If you read all this, well done!!! You are definitely insane enough to enjoy the Nikki series.

[seralyna]

okay reblogging again now that i've read it all and it's really really good. The characters are super compelling, the setting is immersive and the prose itself got multiple outright laughs out of me. I'm a really big fan of the way it presents the horniness of the story. The way that it's largely isolated to implications in the descriptions of scenes early on, before Aster has been broken down by the inevitability of it, is really cool to me. Then of course, later on as the characters finally start talking about it, it feels like a catharsis to the Embarassment in how aster has been approaching the topic up till now. It's just a lot of fun in that aspect. Speaking of, Aster is a delightful protagonist. Their growth in just this chapter is really compelling, and sets the stage in such an exciting way for the future. Their trepidation and sheepishness really does work well to easy you into the setting. It's fun to empathise with their embarassment, cheer on their successes, and of course root for them to be teased and bullied. Much like i've always found in Valerie's work, there is some genuinely hard hitting and introspective stuff that I don't feel qualified to summarise or assess but it did just, work on me. In particular, the stuff drippy said about projecting your embarassment onto others really did hit home, and i'm hoping will help me out with that so uhhh thanks!! this was supposed to just be an endorsment but when i started talking about it i just kept thinking of new stuff and now its kind of a review i guess somehow?? if i'm formalising it like that, I wish i had more to say about the music (which I really like, but failed to notice I could turn on when i first read it and so i kinda, missed out on that context) and the art (which i really really love, but I have never been good at talking about what i like about art) it's just a really really good story and you should consider reading it! wait i thought of more to say don't go. I've been following valerie's work for like 8 years or something at this point, and seeing character concepts that I loved years and years ago being expanded on is just really gratifying to read! like earnestly seeing actual dialogue from drippy and finding out more about her is genuinley really cool to me on a very simple level and i like it a lot!

NEW RELEASE: CURSE/KISS/CUTE episode 0: “Aster Asks!”

Read it for free in your web browser right now!

CURSE/KISS/CUTE is a new episodic erotic web novel about cute gay monsters hooking up in a cursèd wood, with full illustrations and an original soundtrack. 🔞 For adults only! 🔞

[olis-inkwell-symposium]

The Taste of the World: Writing Food as Storytelling

Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.

When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.

Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.

Why Food is Fundamental to Worldbuilding

Culture and Identity

Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.

Think About:

What ingredients are unique to this region, and how did they come to rely on them?

How is food served—shared communally or divided by status?

Are there specific rituals tied to preparing or consuming meals?

These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.

Food as Survival

Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.

Consider:

What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?

How do people preserve food in harsh climates or through difficult seasons?

What compromises are made when survival is at stake?

Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.

Food as Memory

Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.

Ask Yourself:

What does this food remind your characters of?

How does this memory shape their present choices?

What foods do they miss, and why can’t they have them anymore?

The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.

Integrating Food Into Your Narrative

The Subtle Art of Symbolism

Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.

Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.

It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.

Building Tension Through Meals

Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.

Think About:

Who prepares the food, and what does that say about their role or status?

What’s the mood at the table? Is the act of eating itself a kind of performance?

Are there unspoken rules about who eats first, how much they take, or what they avoid?

Food as tension is about the surrounding interaction, not the food itself.

Grounding the World in Small Details

Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.

Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.

Applying Food to Character Development

What Food Says About Relationships

Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.

Consider:

Do your characters share food equally, or does one person dominate the meal?

Is a meal an act of kindness, a manipulation, or an obligation?

How does the way they eat reflect their personality?

Preferences, Habits, and Rituals

The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.

Ask Yourself:

Does your character have a ritual or habit when it comes to food?

How do they react to unfamiliar dishes?

What’s their relationship with food—joy, necessity, or something else?

The Absence of Food

Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.

The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.

Final Thoughts: Food as a Storytelling Tool

Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.

When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.

TAGLIST - dm or reply to be added 🫶🏾

@slenders1ckn3ss @lucistarsfire @fond-illusion @p00lverinecentral

[alexanderwales]

Pitchposting: The Waves

Here's the logline: a hero flits between universes where everything is different and yet all characters recur. The love interest is the same, whether she's a pirate captain, a cubicle worker, a bard, whatever. The villain is the same, whether he's a rear admiral, a corporate tyrant, or an evil overlord.

Multiverse stories are often about the path not traveled, the way that the world might be different. This would be a story about commonality, everything staying the same.

So there are some number of stories being told here, and the shape of all of them is exactly identical, all hitting the beats at the same time. A death in one means a death in the other, but our protagonist is only in one place at a time, so we see each beat only once and infer the rest. A car chase in one story is a ship chase in another. The climactic battle where soldiers crash against the castle walls becomes a climactic battle where the pirate horde smashes against the walls of a fort, and that turns into a modern cityscape where rioters smash against the walls of a towering skyscraper.

My vision here is that we do grand changes as we move between stories, only to find that everything is equivalent.

So what do you do with this? What's this sort of structure for? What cool stories or scenes does it lend itself to?

My first thought is to break it, naturally. If there are five or six realities that we're cycling through, maybe our protagonist can get just one of them onto a different track, one where fate has something else in store. I don't know how you would do this, there's this neat scene in my head where we go "all is lost -> all is lost -> all is lost -> all is ... wait, what's that?!".

My second thought is that having multiple realities moving in perfect synchronicity with each other allows for a way to really underscore a character, say something about them with thick red marker. The elemental thing that's supposed to define a tragedy is that the bad ending is something that came from within the character, right? Something that they could have stopped, if only they had been a different kind of person. The seeds of their downfall laying within them. So isn't there something nice about seeing that this is invariant? That the worlds are different, circumstances are different, but the choices are the same? You'd have to be incredibly careful with this (and the whole thing, really), because I think in constructing different parallels you might end up with something that the audience doesn't consider parallel. But it could work, layering the emotional beats on top of each other.

My third thought is what I think should have been my first thought: the story is one about mastery, coming to know and understand the rules, "winning" across all realities because of understanding, ideally with some kind of character synthesis along the way. I think this is ... well, difficult, given the rules as I've been talking about them. If there's a "twist", then it should be a twist that happens across all realities simultaneously. If there's something gained or lost, it should always have a parallel. I cannot immediately think of some clever way of breaking this system - something that the reader would understand to be clever or at least worthwhile. (I say reader, but this would be better in a visual medium.) Maybe "breaking it" in a different way is the ideal, pulling the realities into each other, swapping conceits and genres. But this, too, would take a lot of planning to pull off, and you'd need to be careful about these set pieces.

So if I were serious about this (which I'm not, this is pitchposting,) I would start out with our characters, then build some worlds around them, trying for maximum variation in those worlds. The plotting is also pretty vital, particularly the "standard" plot whether you're going to break that or not. I do really like the idea of having a single "mundane" world, a place of office buildings and stakes that are measured in lunch breaks and water cooler conversations. I want the swings to be extreme, but the parallels blindingly obvious when they're put in front of you.

To be clear, I'm not sure that this structure/gimmick could actually work. In a text medium, which is what I primarily work with, I think you'd have to spend too much time on blocking and descriptions and detail whenever you switched realities. Switching scenes can be rough even in the best of circumstances.

But it's an idea that I've had rolling around in my head, and if I can't do something with it, then I hope it can at least spark something in someone else.

[wardensantoineandevka]

I won't get around to writing a properly developed post on it, but speaking generally and assuming broad good faith, I personally think the anachronism in Veilguard is fine. I know it's a deeply held bit of style for a lot of people, and many hold the directive about no anachronism as important to things feeling properly Dragon Age.

Personally, I never felt it THAT important. I roll my eyes at nitpicking about historically accurate costuming too, and I pause to wonder what IS "anachronism" in fantasy. I think a lot of the style of the games leaned so hard on it that, in some places, it was a substituting this rule in place of developing stronger individual style or voice. I love this series, but I don't feel like characters (notably once you got past core cast), locations, etc. always and consistently had a strong sense of voice, both in terms of diction but also in visual direction. I feel like even the music gets this a little bit, since Veilguard feels more musically interesting to me than many of the prior tracks because, I think, the soundtrack is allowed to feel a little less like vaguely European medieval heroic fantasy.

There's always been anachronism, but I think the strict reliance on adhering to a particular conception of what A Fantasy Story looks and sounds like really hampered, at least for me, the development of style identity. Veilguard's voice and style broke from that in a way that did feel successfully more specific and striking for the story and characters it's trying to dress. I think being released from this directive does—because there's no longer what we bring ourselves to the table from our familiarity with the genre and pattern recognition—however, magnify flaws in how Bioware always has treated the setting as just the backdrop against which these dramas play out. But that's outside the scope of my thoughts here. I'll just summarize that with: that's a consistent Bioware problem, and I don't think it's inherently wrong to approach worldbuilding as merely dressing the set for your story, though perhaps that isn't always the most successful approach here and I know many fans are very invested in the setting itself and its development, so that would put us all at cross purposes.

Don't get me wrong. There IS a place for that sort of directive, a rule against things that scan too modern. But then, I think for it to work, you have to have a very firm idea of your own voice, of your individual style and direction working with that directive, and frankly, I don't think Bioware EVER really had a super strong grasp of it here.

I do think the character design especially, character voice, and visual identity suffered SO much in many earlier instances because of this directive. Meanwhile, I think it's interesting and striking to have things like, for example, Neve clearly drawing from film noir and how that informs how I approach and think about her as a character and how appropriate it feels that Lucanis and Illario end on the stage of an opera house. I feel like being released from having to worry about anachronism has, for me, produced some of the strongest instances of style and voice in the series in a long time.

And I know a lot of people feel the OPPOSITE, which is a matter of personal experience and taste, but for my own, it always felt like the series was weighed down by a notion of needing to properly emulate The Genre. (We've all looked at the infamous browns and muds of Origins, a game I am fond of. This is why it looks and sounds like that, in my opinion.) This fear of being too anachronistic or too modern often left the series not really feeling, to me, like it's really had a firm sense or idea of what its style or voice was, of what made it sound or look like itself, because it was always afraid of being too modern while also feeling afraid to not look enough like a heroic epic fantasy.

I think getting rid of that and no longer fearing it has done a lot for developing a stronger voice with a look, sound, and feel for Veilguard that feels more specific and conveys story and character so much better and more confidently. Because, in the end, that's supposed to be what this is all in service of: conveying character and story. I feel like Veilguard, in being released from this restriction, has developed a stronger voice with which to do it.

[lo1k-diamonds]

The Creamed Pie by @moccahobi

Succubi!Seokjin x human!reader / Demon AU / slow burn, angst, fluff

If you're trying to live like a human, you're failing.

This story is such a spark of fun! Everything, from the lore to the characters, the relationships, the name of the shop, the quips and the way it doesn't take itself seriously -- until it does. [my review]

——✨Bonus! Amor Erratur✨

Yoongi x reader / Dystopian AU / angst

Oh how he would love to be married to her. 

This story is set in a dystopian world, and it is so out of the ordinary and unique not just because of the world-building but because of Yoongi. [my review]

Advent Calendar 2024

It's the most wonderful time of the year🎶

It's here, the giving season! And while I love advent calendars and already have one for coffee and one for chocolate, I thought what about one for fics? Though I won't be writing, no - I'll be reviewing and recommending wonderful treats! You'll get juicy suggestions, and our lovely writers will get some love for Christmas! And at the end? I will post a bitey gift :p

How does it work?

Every day, I'll reblog this post and add a card with the fic of the day - I'll give some details, a quote, and a fleeting thought. The selection is based on what I've read this year that got my attention, 1 author a day, multiple AUs and tropes! (check the warnings for the fics individually!)

I hope you check them, and if you do, don't forget to show them some love ✨💜

Don't forget to check the notes/reblogs! 🎄

[blackkatmagic]

I have a question about Dark Woman, which is how close is your version of her to canon?

I haven't read the comics but every time I read her (90% is your stories with Jon you keep getting me hooked on characters I've never read about), I wonder how she's light sided and the impression I get is not actually malicious or selfish but too apathetic to care if she hurts anyone and I guess I'm trying to figure out if that matches your perception of her?

I mean, she's as close as any of the characters I write?? I base her off what we're given in the comics.

In canon, at least, she comes off as a zealot. She's so completely devoted to the Jedi's mission and the Force itself that she disregards everything but her view of how the Jedi should work, which I think keeps her on the light side, even if she's not at all nice about it. She's the very furthest thing from apathetic, in my reading of her - she's viciously devoted and incredibly set in her views. One of her big scenes in the comics is her and Tholme arguing about how Jedi shouldn't have any kindness for each other, because it leads to the Dark Side. She also canonically abuses her apprentices - she hits A'Sharad after he's surrendered during a spar, in order to make him "strong", and Mace mentions that there are bad rumors around her treatment of her students.

I'd recommend reading the comics yourself - forming your own view of character is, in my opinion, always the best way to go.

[lets-try-some-writing]

Forbidden Sight is my favorite work of yours - I absolutely dig the religious horror and the excellent characterization of Bee’s terror. I feel like a huge downfall of a lot of works that do cosmic horror is ‘turning the lights on’ or so I say, when the writer says too much - but you avoided that pitfall MARVELOUSLY with the ending. Do you think you could shed some light on what inspired you for the fic and the characterization of Primus?

Oh absolutely!!! I hardly get questions like these and I am ALWAYS thrilled to answer them!! I too find that a lot of horror writers, even just for general horror, tend to reveal their hand too early. I've made that mistake before with a few drabbles and learned from a few other fandoms that oftentimes the most horrifying thing is that which you cannot fully comprehend. Thank you Warhammer 40k, Hollow Knight, and various analog horror series. There is a very fine line to walk for horror, and for me, I've always found inspiration for my horror through concept, not character or setting.

I am a highly religious person myself, and so in a moment of contemplation after attending philosophy class, I wondered what would be the most horrifying for a person of faith? Your world is crumbling. Reality is cracking, and all you have is your faith in something greater than yourself. And so you lean on it, you give yourself to it in hopes of the salvation your people preach. But through this you discover that the thing you worship, while indeed just as loving as the preachers say, does not know how to express that love in a way that does not cause pain. Would that not be horrifying? The god you worship is just as the stories say. All loving and perfectly loyal to you, it's precious child. But it is so much greater than you that you cannot understand it. Even its most tender touch and well meant action causes you pain because it does not know your mortal desires. Even if it does have the barest inkling of your pain, the way it soothes is so great and drastic that you have no choice but to plead to act in its stead. How do you serve a god who wants to love, but does not know how? You offer it everything. You become it's vessel so that, if nothing else, its touch will not break anyone other than you. There is equal horror to be found in learning that the god you've known lives beneath you feet is not just alive, but active. It schemes, it thinks and plans. It claims to love, but its actions tell a different tale. Everything it does hurt someone, even its most loyal devotee. Your god loves you. It loves you so much that it is willing to hurt you to keep it's people closer to itself. It loves so deeply and with such strength that it will listen, but only if you accept all that it has to offer. What would you do, if your god loved you enough to break you?

In essence, what is the consequence of a god's love? Can it be considered love at all? And beyond that, is what it claims to be love truly that, or is it simply selfishness hidden behind a veil of divinity. One cannot comprehend something so great, so all there is to do is guess.

Hope that answered your question! It was a lot of rambling on my end, but I do hope it makes a degree of sense.

[beachyserasims]

The Lonely House

On a cold autumns eve in a modern rented house, a small family sits down together after a Harvest meal, bellies full and hearts open to share. They traveled here from different places to meet one another, some from as far as the rocky mountains and beyond. But in the past, they all lived together in their quaint family home, in a small prairie town just outside of the city. They reminisce about times they spent there, each recounting their own isolated experiences. Throughout the conversation, a pattern is clearly seen, and they all begin to agree on one truly disturbing reality… That house was definitely haunted.

This series contains 3 very short stories, a bit of poetry, and graphic art related to The Lonely House.

This series is non-fictional and rated +18 for mature audiences only.

Click for trigger warnings and tags related to this series.

Enter here… if you dare.

[irrealisms]

#and this argument is fascinating also because this approach leads you towards verbally flagging what's 'canon' and what isn't#what's 'in character' and what isn't#while leaning into the metagaming and treating it as normal means you draw the viewer's attention to the artificiality of the story#or 'break immersion' or whatever WAY less often#i think it's fair to say that makes for worse content. though it is still probably a matter of preference#like the former approach actually feels way more 'meta' than the latter. as in aware of itself/commenting on itself#don't want it to feel like anon is being dogpiled or anything i just love talking about this#lifesteal#meta (tags by @myrmica)

these are all great thoughts from both of you! another thing i'd add to this (i also like talking about this haha) is that...there are times when you see lifestealers pretend they don't have information that they do, and that's when it's been streamsniped. one example of this which they talk about more notably because the streamsnipe was from such an unusual place (youtube comment!) but it's not uncommon to have streamsnipers show up in chat that streamers may read before their messages are deleted, and even when this happens it's not uncommon for the streamers to go "well i can't act on that information, i'm just gonna act like i don't know that, because i shouldn't know that" (and when they do use streamsniped knowledge instead of going "no i shouldn't know that IC", this is....controversial)

and this is because..."using ooc knowledge" is not inherently bad or poor etiquette in a vacuum. the thing that is rude is using knowledge that your roleplay group has agreed you shouldn't have IC-- along with feelings around breaking immersion in ~collaborative experiences (which i think is largely down to personal preference in terms of which approach produces content that is more enjoyable/less immersion-breaking) it's also unfair in ~competitive ones if everyone else does follow the rules and therefore is working with a smaller set of usable information than you! that's the thing that makes metagaming rude: breaking agreed-upon rules. but.... lifesteal doesn't in fact have rules against using "ooc" knowledge. people use "ooc" knowledge in lifesteal all the damn time. the thing that lifesteal has rules against, and that therefore more often and legitimately results in ccs pretending they don't have information that they do, is streamsniping.

I fully understand being bothered by the “this is not canon” bit when it comes to ccs avoiding the canon-ness of what they do on the server. But I have seen people being bothered they (the cc’s) want to keep the metagaming minimal while rping and it’s interesting.

If a cc wants to hear info in character rather than jumping in with all the knowledge they heard ooc that’s not,, bad? It’s great even? Not only is it better content wise but this is also very normal roleplay etiquette that is being nitpicked

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[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[waterlinkedgirl]

Musical Touken Ranbu: Michinooku ~ Hitotsu Hachisu (Michinooku ~ A Single Lotus)

Here we go! Only a few days after the archive release and toumyu's ninth anniversary (congratulations!)

Michioku, or Michihasu, is a myu I have many conflicting feelings about, both positive and negative. However, I do believe that with the right amount of care in the next Mika-related story myu, the negative can still be cleared. Plus, I'm glad about a lot of things being re-established. The writer does need to step up her game a little on the plot-writing side of things, as well as the understanding-and-respecting-past-myu side of things, but as long as she does, this can still be given a proper place within what was already established.

Keep in mind that these are only the subtitle files, timed and tled to the DMM senshuuraku and the bluray respectively. The archive version will have a talk at the start, so the starting times of the subs will have to be delayed accordingly.

You can find the subtitles and my TL notes document here!