#generally how about we do more things in-character?

[cadaveerie]

SPOILERS DATV !!!

Nick Thornborrow - LUCANIS' Narrative sketches for Dragon Age: The Veilguard (discarded romance + character story scenes)

Nick Thornborrow posted on his blog some narrative sketches he made during the development of DATV. He speaks about the process and shares his art. In this specific post I'm gonna post Lucanis' ones (this contains spoilers of the game).

More general ones:

More romance-story centric for Lucanis in particular:

"Narrative sketches produced for Dragon Age: The Veilguard. One of the challenges of making such a massive narrative game is communicating that story to the rest of the team in a succinct way. It’s surprising how many of our colleagues don’t become fully familiar with the campaign until late into production, but understandable considering how many areas of responsibility and plates spinning there are on a production like this. We wanted to bridge those communication gaps on Veilguard. To do this, I took Trick Weekes’ detailed outline for the game and turned it into an illustrated VN style game built in Twine with branches and everything. It was distributed to the team as an internal tool to broadcast the story of the game we were making and to solicit feedback. Then the illustrations were used to populate an in engine version built by the narrative designers, of the same thing, but with more bells and whistles to emulate the narrative flow and economy of the actual game."

What do you think? Do you like them? I'm personally losing my mind at some of them... especially the Illario/Zara? and... the romance scenes...

(will edit this as i post from the other characters)

[angelbarelywrites]

♡ slashers scenarios | may i have this dance?

♡ fandoms; Halloween, Texas Chainsaw Massacre (original + 2006), House of Wax, The Boy, Dead by Daylight, slashers (general)

♡ characters; Micheal Myers, Thomas Hewitt, Bubba Sawyer, Vincent Sinclair, Brahms Heelshire

♡ reader; gender neutral

♡cw; none really!!

♡notes; this popped into my brain the other day and i thought we were due for some fluff. i’m writing part two congruently so that’ll be posted soon too!!

•┈••✦ ❤ ✦••┈•

Micheal Myers

> Micheal Myers does not dance

> He doesn’t know how, and he doesn’t want to learn

> But like with a lot of things, you get him to bend his rules

> He has a habit of looming in doorways to watch you

> At first it’s disconcerting, but you learn it’s just how he is

> So you pay him no mind as he’s watching you dance around the kitchen to some song that’s too popular for him to know

> Sweet and silly and carefree…

> He clicks the speaker off with a quiet huff

> “Hey, I was listening to that-“ You pout

> He rolls his eyes and puts on something a bit more to his taste

> And before you can playfully complain any more, he wraps his arms around you from behind and sways softly

> It takes a second for you to process it- he’s not normally so…gentle

> But in his own weird little way, he’s dancing with you

> He tenses a bit when you turn around- he’s embarrassed but would never admit it- but when you kiss his cheek he relaxes and gives a quiet hum

>And he keeps swaying as you lay your head on his chest

>Just for you, as long as you don’t tell anyone…Micheal Myers does dance. Just a little.

Thomas Hewitt

> Thomas doesn’t think about dancing

> He’s seen it on TV, read about it in books…but the Hewitts aren’t really the dancing types

> Nearest thing to dancing that he can think of ever doing is being held by his mama, when she’d sing and rock him when he was hurt or upset

> And it’s been a long time since anyone could hold him like that

> But one day you’re upset- he doesn’t know why but you burst into tears the moment he walked in, and it has him in a tizzy

> He quickly scoops you up, checking for any injuries but…nothing. You’re just crying and he hates seeing you like that

> So he does what used to make him feel better

> He can’t sing- or at least won’t, his words are always few and far between- but he hums, low and rumbling in his chest

> As he holds you and slowly sways you start to calm down

> You sniffle and all of the sudden giggle

> “Thomas Hewitt; are you dancin’ with me right now?”

> He looks confused but slowly nods as he thinks about it

> “Well thank you. I needed this.”

> He nuzzles you and continues until you’re calm- and far after that if you’ll let him

Bubba Sawyer

> As we know, Bubba is a very sheltered fellow, but he does like dancing!

> He’s not particularly coordinated but he doesn’t need much coaxing to twirl you around and around

> He’ll dance without music, humming a nonsense tune to you, maybe even whistling

> And if you sing to him he can’t help grinning and giggling

> It’s not uncommon for him to sway and spin with you in the living room if the radio got left on

> And he gets shy when you’re caught by one of his brothers

> “Bubba you stop wasting time, you little—“

> You cock your hip and give Drayton a cold look

> “Oh, I’m a waste of time now, cook?”

> Like always a smart remark goes a long way with Drayton, the twins immediately “oooh”ing and teasing him as he flusters

> Soon enough he’s chasing them out cursing and wielding a pair of tongs

> Leaving you and Bubba forgotten and free to sneak off and continue your fun in peace

Vincent Sinclair

> You’d have to ask

> Probably more than once, honestly

> Vincent is an artistic man, that’s not a doubt in the slightest- but he’s not even a little interested in anything that involves performance

> But you have a way of getting your way with him

> “Vince baby?”

> “…”

> “Pretty please?”

> “…”

> “If we take pictures then you can paint us.”

> He perks up a bit and you know you’ve got him

> “Cmon silly!” You drag him into the house of Wax, camcorder in hand

> Having gotten that far, you finally realize you don’t particularly know how to dance either, not really

> But you don’t tell him that, instead turning on the music and pulling him against you

> You’re clumsy and awkward and adorable as you spin around with him, not even a bit embarrassed

> He isn’t sure the reference stills are usable, but he’s more than happy the sweet moment on camera

Brahms Heelshire

> Brahms treats you like royalty- whatever you want is yours

> So if you say you’d like to go dancing, he is more than happy to arrange something

> Though of course, he doesn’t like leaving home… no matter. There’s plenty of room in the manor

> He makes a date out of it- he’s prone to making dates out of lots of silly things

> Silly or not, it’s sweet, and as always you fawn over him and praise him for the thoughtfulness

> He even bought you a cute outfit for the occasion - he loves dolling you up (pun slightly intended)

> After setting the music he bows and offers his hand- being a rich brat he knows a bit of ballroom dancing

> He’s more than happy to teach you, humming “1-2-3” with your steps

> But he’s laughing and giggling and just can’t stop gushing over how cute you are

> So if you fall into slow dancing like it’s the prom, he doesn’t mind

> Any dance with you is more than he can ask for

[murfpersonalblog]

I think OP's question also kinda depends on WHO's holding a character accountable?

the people in-universe (who've interacted with said character, and whose lives are (in)directly impacted by that characters' actions). The canon plot will show/tell you who it wants you to take more sympathetically or not; how the characters treat each other, and what the ending implies about the story's overall message they want to convey. The trick is if the story sticks the landing. And that's where we the audience comes in.

us in the external audience (who consume whatever media the character is from, and decide whether we like a character/story or not, BASED ON how that character's treated in-universe). We hold fictional characters accountable all the time, which is how "the villain" and "the hero" are even a thing. The court of public opinion is judge jury & executioner of all media content--if a story's written where general consensus is that the ending was satisfying (or not); or a character was treated unfairly, or got off easy; or if plot contrivances spiraled to the point that the story's not worth following anymore, etc--we hold characters accountable 24/7. And we hold writers accountable by saying their story's mid & we don't like the messages being projected to us. Look at The Last Jedi, or Game of Thrones Season 8, or Joker 2. Look at how many Disney remakes were blasted for tryna give villains tragic backstories. People who pretend they don't care about IRL morality/ethics/politics/etc in fiction are lying their arses off. They DO care; we all align ourselves with characters we relate to, cuz it says something about the moral standards people hold (or not). Look at how DnD's Alignment Chart permeated pop culture. Look at the Bloody Baron questline in The Witcher 3, or all the Yaegerist discourse from Attack on Titan, or Light Yagami's Death Note; or Joker 1. Art imitates life, and life is a constant push/pull of people being held to certain standards or codes of conduct that society expects people to be held accountable for--even if it's just as simple as saying I don't like that character/story/ending.

(Side note: if only the Hays Code was established by a society that actually took its own moral pronouncements seriously; and didn't instead turn around and perpetuate some of the most racist, sexist, capitalist, homophobic treatment of human people in modern American history. But I digress.)

[cripplecharacters]

Hi! Ok so at one point I remember when answering an ask you said that when making animal based characters to just stay away from making any rat ones because of negative connotations (which I totally get)

So my question is would it be ok to have a whole humanoid race that is mildly based on mice? They look like humans but their ears vaguely look mouse-ish, they have tails, and their feet are sort of like paws. I am considering two different options with the tails in case I should stay away from the mouse thing, one looks like a mouse tail (kind of the main thing making them mice themed) and the other is a similar shape but fluffy especially at the end (A little like some versions of unicorn tails I've seen)

I would like to include disabled characters so if the mouse thing still isn't recommended I'll redesign them

Hello!

Most of the time when we advise that people avoid a certain trope/concept, it isn't a complete ban on it. It's generally more of a "be careful with how you approach this" type thing.

For example, we often advise against making a disabled character that's a villain because of their disability. If your only disabled character is a villain with chronic pain that kills people because their disability stops them from their dream job, that's not great. BUT if you have this same character and you also have a wheelchair user who runs the tech stuff for the hero side (Oracle-style, for my DC folks) and a Deafblind hero who leads the charge against the villains and an autistic sidekick and an amputee henchman for the villain and several able bodied villains and so on, then its less of a problem. It might not be gold medal representation but because you're no longer equating disability with tradegy and hatred and instead showing that villain as part of a cast with diverse stories and, more importantly, as a person with their own unique experiences, it's much better.

This is all a very long way of saying that most tropes that are generally best avoided can still be okay in some contexts.

In this case, having this whole species is completely fine and it's great that you want to include disabled characters! I see nothing wrong with this.

If you had a world where the characters were all anthropomorphic animals and the only rat character was also your own disabled character, that'd be a bit of a problem because it's singling out your disabled character -- presumably to poke at their disability.

In the concept you've presented, though, being part of this species is a trait all (Or most) of your characters share. Which is fine!

As a few final notes of caution:

If you're worried about certain unintended connotations or messaging coming across, it's generally best to spread your cast out as much as possible. By this, I mean that if you have other species in this world, don't have all your disabled characters be part of this one species. Likewise, don't have every member of this species be disabled. Instead, consider having your disabled characters be from different species. For example, have an amputee character be from this species but have a blind character be from another species.

Certain specific disabilities do have individual associations to watch out for. Be careful making associations between a character with a cleft lip and hares/rabbits (Because of the derogatory term "harelip" that has been used). Likewise but to a lesser extent, be careful with associations of blind people and moles, mice, and bats. This is because of the naked mole rat, the Three Blind Mice, and "blind as a bat" respectively. There are a few of these out there.

This is less of a warning and more just something to consider but keep in mind how their animal traits can be impacted by their disability. Would a character that's paralyzed have use of their tail? Would a blind character trip over their tail or would their same "sense of self" extend to the tail like it would an arm or leg? How would a character in a wheelchair adapt their chair to their tail? Etc.

Hopefully some of this is helpful!

Cheers,

~ Mod Icarus

[exn0bis]

So. Completed Veilguard. I have lots of thoughts.

Regardless, I don't think I'd be saying anything that hasn't already been said.

For my part, I went in with the expectation it was going to be bad. I was pleasantly surprised by some things, certainly by the technical aspects, but it fell about where I expected in most other ways.

But first, the good.

It was extremely refreshing to see a AAA game actually release so well optimized for once. I'm running an older system at this point, with a GTX 1080 TI. Even so, out of the box, I was able to run things on the Medium preset perfectly. After some troubleshooting the latest Nvidia driver, and updating the games native upscaling to FSR 3.x, I was running things on a mix of High & Ultra with minimal to no frame drops. This was way beyond what I expected, and made the play experience more enjoyable. While I do think that, like many games in the past few years, there is some over reliance on upscaling to make it look its best, Veilguard still maintains excellent visual fidelity without it.

On that note, the game is objectively gorgeous, regardless of how one feels about the art style (which I did personally like, too); I'm also extremely impressed how they adapted a simulated strand hair system into something playable in real-time without it being overly taxing. Would love to know the technical breakdown for that specifically, but either way, I would not be surprised if we start to see more games released with something similar going forwards.

Veilguard very much proved you can make something look gorgeous and still have it be playable on more than just the latest and greatest systems, and I hope it will encourage more studios to focus on how they optimize and implement their work.

I also found the general gameplay mechanics to be, overall, enjoyable. I was hesitant going in, as I'm 1) bad at games, and 2) from a CRPG background, so the real-time style of combat is not generally something I'm good at. I was also concerned about the stripping down of party mechanics, etc, that was a big part of the previous games. And while I do wish the party tactics had been a little more varied, I ultimately found combat fun and responsive, and that they struck a reasonable balance between simplicity with party, and overly tactical. It did have way too many buttons & combos for me, but that is definitely a me being bad at games thing and not a fault in the game.

I also was extremely impressed with how smoothly the game transitioned from gameplay to cutscenes, and I really liked the more open maps/elimination of excess loading screens.

Unfortunately, that is about all the praise I have for the game.

I'm not really going to talk too much about the complete disregard for the world state built by previous titles, because I think all that needs to be said about that has been. I agree that, from a development standpoint, they needed to find a way to simplify things. However, going so totally scorched earth that character creation literally states "you don't need to customize your previous choices if you don't want to because it doesn't really affect anything" only serves to insult and infuriate the very dedicated player base.

It's very clear that the goal of Veilguard is to wipe the slate clean for the purposes of rebranding and bringing in new players for future installments/capital. Considering the mass layoffs at Bioware, and EA's generally established business practices, this sort of tactic isn't really surprising, no, and was truthfully only a matter of time. But that doesn't stop it from feeling like a slap in the face.

That being established, the total disregard for existing lore, world state, impact of previous titles, glaring plot holes within Veilguard itself, etc, is unfortunately to be expected. No point in picking it apart individually, as it's all just a symptom of the goal of a clean slate reboot.

Which isn't to say I wasn't cursing at my screen by the end of it, but I digress.

I had hoped I could at least enjoy the game as something new, turn off the part of my brain that associated it with Dragon Age and just play it as a stand alone thing. This even worked for the first chapter or so, as I was really enjoying the exploration and gameplay. And then I started recruiting more people. And the main plot started to really get going. And turning my brain off suddenly stopped helping.

The writing is awful, full stop. It's all incredibly surface level and sanitized, and it treats the player with such ineptitude I started to feel like the game had actual disdain for me for trying to play and enjoy it. If I had a dollar for every time an NPC explicitly repeated a plot point or goal immediately after a cutscene that had already painfully spelled it out for me ended, I would have recouped the price of the game three times over. I get that reading comprehension is at an all time low, but holy shit. I paid for a sweeping fantasy narrative, not a degradation simulator that treats me like a moron.

If we manage to put that aside, we're left with a narrative that spends every spare second trying to convince you of how high the stakes are and how important your relationships will be to get through it... and then never actually manages to deliver on any of it. The game repeatedly shies away from showing you anything actually bad, or building anything actually meaningful.

Yes, we see the Blight being gross and a few choice deaths, but that's it. The mass devastation we're told is constantly happening all over Thedas? The staggering amounts of death taking place? The oh-so-vile practices and punishments of our main antagonists? Anything and everything that has to do with the extremely prevalent theme of slavery? That all happens off screen, if it happens at all. Somewhere nice and clean and safe for it to exist, sanitized of any tension or emotional impact. I cannot decide if the flagrant pacing issues in the narrative are a product of the missing tension, or their own problem.

And those important relationships we're told about follow the same pattern. Even if we ignore how everyone speaks to each other like they're reading the script of an HR Workplace Togetherness video, their personal stories are devoid of the stakes we are assured they have. I wanted so desperately to care about the things these character's cared about, but I left still unconvinced the character's themselves even gave a shit.

And with a shallow plot comes a shallow character; I felt no attachment to any of them, despite telling myself they'd grow on me as I progressed. Of course, I also didn't dislike any of them, either; I just didn't care, and I find that infinitely more damming.

I think what I find most frustrating is that the potential in the characters is there, at least. They're each interesting concepts with interesting themes, and every so often I'd get a cutscene that actually got me to feel something, to react, and I'd get excited thinking 'oh, this must be when it gets good.' But no, as soon as you're out of the cutscene, it's situation normal again. No more feelings, no more tension. That all happened off screen, again. Any emotional turmoil the character in question was in moments before is now gone in favor of Group Togetherness.

Rook is no exception to any of this, either; exactly as tepid as the rest, but coated with an even less polished illusion of substance. This is not helped by the fact that the game makes an active effort to remind you that Solas is the actual main character of this story. Rook, you as the player, are just sort of... there.

The headcanons I've seen from fans do more justice to this entire cast than the game ever does.

In summary, it's sad, I think. It's ultimately what I expected, but it's sad. Many of us have a very deep attachment to Dragon Age, the story and the community that built up around it. I literally met my wife through the Dragon Age fandom. I learned to explore some deeply personal things about myself through how I related to the story and characters because of how much depth and nuance there was to examine. To see all that reduced to what amounts to a very prettily polished turd is just... yeah. Sad.

I'm really happy that there are people who have enjoyed the game. Genuinely. I hope they'll continue to do so. Myself, I'll probably still go on a screenshot binge and enjoy how pretty it looks, too. But Veilguard is very much the end of Dragon Age, for me. And I'm sad about it.

[locuas642]

Dandadan and the Roof

(CW, mentions of suicide)

Okay so, I have seen people commenting on how Dandadan Episode 7 (A Kinder world) changed the scene to make it a lot more subtle that Acro Silky commited suicide by jumping off a rooftop. Particularly talking about how this might have left anime-onlies confused or did not quite fit how it looks in the manga, where it is a lot more clear.

First of all, I tihnk it's important to acknowledge the obvious. And other people are in agreement that, first of all, it just wasn't gonna happen that japanese TV censors would allow Science Saru to make it explicit she had commited suicide. This is not even a Japan thing, all countries have guidelines or a general rule for what is and isn't ok to show on television. The US has them and they have guidelines about how to portray suicide.

this is because there are things that are fine to show in one medium, but which would be controversial to show on another. For example, in the book Alive, which chronicles the rugbier team that crashed in Los Andes, there is a particularly haunting part of the book that goes into detail how the survivors were forced to commit cannibalism in order to survive, the most famous part of the real event. It's haunting, nauseating, horrifying and what real people were forced to do for them to survive and which the book chronicles not for shock value but to tell an accurate picture of what the survivors went through.

it's also something that no movie could actually explore in as much detail without having to be cursed with carrying the highest of ratings. And the truth is, there are things that are easier to swallow, to experience, to process, by reading about it than in watching a movie.

that is to say, what is OK for Manga to show (and this can vary depending of the magazine) may also happen to be very hard or even impossible to get the approval to show in an anime or live-action. and it's important to acknowledge this fact before going any further: for Science Saru to acomplish the hard task of keeping the scene but leaving it ambiguous enough to please the censors? that is something to be praised. And I talked with someone and we both agree, I suspect Science Saru might have, at some point, seriously considered changing it to her bleeding out on the street, given the focus we got on the blood, which was non-existent in the original scene.

With that said. I also think this is the version of the scene that best takes advantage of the strenghts of it's medium of animation.

I am of the opinion that any anime adaptation that tries to do a 1:1 copy of the manga, to recreate panels exactly or which keeps every single narration box is a bad adaptation. This is because they become slow, scenes become awkward and characters become weirdly static in a way they aren't in the manga.

But manga (and comics in general) is the art of telling a story through static images, while animation is the art of telling a story through movement. it's to use motion and music to create a feeling in the same way manga creates striking images to convey a specific feeling.

And that's what Dandadan did. it used motion, movement, music, it's ability to give life to images, to make this family of two feel more alive. they extended their scenes, because Animation allows them to show more and drive it home how alive they were.

And by this same token, they extended the scene in the rooftop to create this dreamlike sequence that leaves the unaware viewer trying to guess what is going on, to try to process the scene and understand it. to dare them to understand it and guess what happened. Using it's limited time as a strenght by finishing it and leaving the audience to think the answer for themselves.

And in all honesty? it's fine if people don't immediatly guess what happened, that they have to re-watch and and process it and think and feel. Or even be told. It is not a failing of the episode, but an invitation for the viewer to try to understand it, to grasp it's meaning.

It's what makes it richer than just trying to be 1:1.

[maxwell-grant]

I'm seeing several popular react to the Penguin show with "God I wanna see Batman kick his ass in the next movie". Which, for a show about a Batman villain, is probably an indication of succeess

Are you kidding me it fucking rules, there's no "probably" here, the show couldn't possibly have achieved what it set out to do harder.

I've talked with people, as Episode 7 was coming out, that they've managed to strike this perfect balance between making Oz the fun engaging protagonist to watch, and making him a villain that we'll want to face justice, opposite Sofia who tread the line between his Batman Villain arch-nemesis as well as the closest the show has to a hero. The camera loves her, the costume designers and hair stylists love her, the showrunner calls her the hero of the show, production folks who go on the podcast talk about how she was their favorite character to work on, while Oz, the protagonist, only grew darker and more despised and more fucked-up as the weeks passed, as we sit through 8 hours chipping away at all of his fun and charm and wacko comedy antics and motivations and all the scruples and principles that he turns out to have less and less of, that become less and less useful to him, until he butchers them all in the very end along with the heart of the show.

As I saw it around week 6, by the time this thing was over, Sofia would demand to be received with tragic applause and heartbreak and whooping cheers and love, but Oswald would have the children of the world booing and hissing and throwing eggs and tomatoes at him, and then asking him to come back so they can do it again. AND I WAS RIGHT, and also I WILDLY underestimated the degree to which that would be warranted, and I certainly didn't expect that, for the first time in my life, I would be unconditionally and enthusiastically on the same side as everyone who posted that Arkham scene, where Batman picks up Penguin and smashes him against a mirror, as something Battison has to do in the next movie. I couldn't believe what a stab to the heart that last episode was.

I'l get into the specifics of why this worked more on the Episode 8 breakdown and, granted, it's a lot to conciliate still, it's genuinely a strange feeling to be onboard with everyone else who wants Penguin to be flattened and crushed and humiliated, to truly hate him as a loathsome monster for the first time ever even as I love him in so many new fucked-up ways. This is, make no mistake, the good version of the Joker's Asylum one-off, Pain and Prejudice, Bullies, all those modern stories that are ultimately about nothing more than reminding you of a super-duper serious evil bastard this funny little man is, stories I generally just find too dumb and reductive and ugly and tasteless and trying so very damn hard to be scary without working for it. This was Lauren LeFranc slam dunking everyone who's picked up this character since Jason Aaron in 2007, including Jason Aaron himself, and wherever they take him in the next movie, or if they can justify another season of this, they've fully set him up more than ever as a guy we will want to be exploded by the Batmobile, that he not only fully deserves it, but must, be defeated for good.

Beyond impressed, don't think I could have ever anticipated how much I wanted this.

[eff-plays]

What are your thoughts on some of the wording that is used to describe Taash's gender dysphoria in Veilguard?

Anytime their gender identity crisis is discussed, it's always called "non-binary stuff." There is also one character in the wetlands who is non-binary and they say that another character helped them with their "non-binary" stuff.

Surely, the terms gender dysphoria, gender identity crisis, or even just saying "helped me figure out that I was non-binary" would have been better writing.

It feels like they didn't have faith in people to understand other terms or context clues.

Please note that this ask is not meant to be in bad faith and there is no pressure to answer.

I am generally curious if this is an example of bad writing or if non-binary stuff is the correct term over gender dysphoria or gender identity crisis in this context.

I think it all goes back to just using "non-binary" in the game itself. And while I get how some enbies think it's important to use our language to describe us in fiction, and that's a justified opinion to hold, I'm going to disagree. Games with heavy and extensive lore and actual conlangs shouldn't just fall back on hyperspecific modern terms when we all know they're capable of delivering the same message in a way that doesn't lean on the fourth wall or break immersion. Krem, for all the clunkiness that surrounded him, got a whole in-universe explanation for how he fit into the Qun.

Now, to be clear, I'm not saying I value immersion over representation, or that nonbinary people are immersion-breaking. That's an insane opinion to hold. It's just that I, personally, feel more out-of-place and alienated when a fictional world's attempts at including me uses modern terminology. It doesn't tell me that I belong in that world and there is space for me in it, but that there isn't. This vast world, which has fantastical locations and magic and Blighted old gods and dragons, which has room for all of those things, but doesn't have room for language and identities unique to it that might reflect mine? It has to use language that doesn't belong there to explain people that supposedly do? Do you get my issue here? There is an inherent contradiction in this approach.

By not bothering to integrate nonbinary people into Thedas, by falling back on and insisting on modern terminology, BioWare isn't telling me "you're valid, you belong" it's telling me "your presence is so incongruous with our world that we couldn't do anything but use existing terminology to describe you." In their attempt to be inclusive, they just didn't bother to actually integrate nonbinary identities into its world. Then they keep highlighting their own failure by pointing at my identity and telling everyone in their world how valid it is. Imagine you're just existing in a crowd and some motherfucker points you out and goes "YOU. YOU'RE VALID! EVERYBODY LOOK AT HOW VALID THEY ARE!" That's what's bothering me the most. It makes me feel like a freak, not like I belong. And maybe that's a me problem, but given the responses I've seen to my Taash posts, I don't think it is.

Anyway, sorry for that tangent. I don't think gender dysphoria or gender identity crisis would've been better writing, personally. I was pretty confused for why this random NPC told me about their gender identity at all, to be frank. Especially when they, in the first conversation, gave us their pronouns in a very naturalistic way, and Rook + the companions repeated those pronouns later. Like, for me? That, combined with Flynn's very androgynous appearance, was enough to clue me in to who they were. We only have two interactions with this person (AFAIK, if they show up again then I haven't gotten to that point in the game yet), there really doesn't need to be a spot where they clarify their highly personal discovery of their gender identity.

However, if you're very desperate to include this as explicitly as BioWare intends, I have a solution: have them only mention the "non-binary stuff" to a trans and/or nonbinary Rook. My Rook is nonbinary and people know this about them, and since Rook is becoming well-known, people will know their pronouns and identity. So, have Flynn be like "Yeah, my mentor helped me figure myself out. You know how hard it can be to do on your own, Rook." Ya know? Suddenly, you get what they're talking about without having them to be like "ah yes, have I mentioned I am non-binary today?"

I get wanting to make things explicit, but it happens at the cost of believability and actually representing how enbies exist as people. I don't talk to friendly strangers like "I had a hard time figuring out I'm nonbinary, but I got there in the end!" Most of my classmates only know I'm nonbinary because it says so on my Discord profile, and the same goes for the ones I know are nonbinary. Most of it is just clocking each other across the room or hearing other people use our chosen pronouns.

As for Taash's dysphoria ... That's another long-ass can of worms type post that I might make once I'm finished with the game and have a complete image of their storyline. But rest assured, I have plenty of thoughts on that, as well.

[tidesreach]

The phrase "good representation" should not refer to whether or not the character is a good person. It should refer to their queerness being handled appropriately or not.

Does the story respect their queerness? Is their queerness portrayed honestly and genuinely? Does it lean into ignorant or malicious tropes about queer people?

agreed, absolutely! also. prefacing this with: my original post was about 911 (abc) and broke containment. so i'm not entirely sure whether you are a 911 watcher or not, but i am taking the opportunity to answer it in that context because it touches upon the points you made. the post is broad enough that it is applicable to many other things, which people have been applying it to. and that's fine. but specifically, it was about 911 and a subset of fans demonising and harrassing an actor who expressed his wish for the bisexual character he plays to explore himself post-break up via casual relationships. the argument from this subset of fans was that this is biphobic and would be "bad" bisexual representation because it perpetuates the idea that bisexuals are sluts. and, well. i think that in itself is incredibly harmful. it's restrictive and it's reductive. for a plethora of reasons. but specifically—

1) that people consider the exploration of sexuality via fun, consensual casual sex with multiple partners (or just the existence of bisexual people who do not wish to be monogamous) nothing more than a trope is problematic. the insistence that the only "good" bisexual representation is depicting bisexual people in long-term monogamous relationships and nothing else is not progress. it's the opposite of progress. bisexual people, queer people in general, are not a monolith. and i don't think we can or should consider bisexual people/queer people in general well-represented in media when that representation does not explore multiple, varying experiences. and i think, actually we need to talk more about how actively harmful it is to queer people that when those experiences are genuinely explored, they are labeled "bad". like, we need to consider that it is doing actual harm to real people to see their experiences described that way, to see their experiences ignored because they're not "good" enough. we cannot destigmatise these experiences if we simply refuse to depict them.

and 2) the slut-shaming element. i could write paragraphs on this. but it comes down to this: considering these experiences inherently bad actively perpetuates slut-shaming.

which is where i think intent comes in. because obviously, these experiences have been depicted with maliciousness and ignorance in various media. they have been framed as bad in-media or are disingenuous in their depiction. which i think is the point you are making. in the case of 911, that is not what is happening. the actor himself made a post that highlighted this. they are not depicting this as a bad thing, but are in fact coming at it from a place of care and consideration. specifically

so. yeah. that's the context here.

[mammalsofaction]

A/N: Whoops, this came out a little more angsty than I originally planned.

Perry hates having to go to HQ.

Oh, he's got nothing against the building itself, and his relationship with most of his coworkers is fairly amicable. Perry just hates having to go there, since he generally prefers spending his free time (spare enough as it were) around family, and other assorted loved ones. There's almost nothing he needs to do at HQ that he couldn't fulfil in the lair beneath his house, or the office in his room, anyway. And shit always, always goes down when he has to spend more than 5 consecutive hours in his assigned office cubicle.

Of course, they key word to the first statement was "almost."

And predictably, the aforementioned shit he was waiting for strolls into his space half an hour past lunchbreak, slapping a couple of polaroids on top of his desk by his elbow.

Pinky waits patiently for Perry to give a damn, and Perry looks up warily when Pinky Garcia-Shapiro stays suspiciously quiet for a whole minute. Pinky gestures to the photos, and Perry takes a look, goes back to his computer, before realization hits him upside the head like a steel pole and shoves itself down the back of his spine, sitting him ramrod straight in his crappy office chair as he picks the first photo off the top of the deck.

Pinky's waiting with his eyebrows raised when Perry swirls around to face him fully. It's not what it looks like, Perry signs, and flinches when the look he receives in return is less than impressed.

Does that matter? Pinky signs sharply in return, instead of speaking aloud, which was the biggest sign if ever that Perry's not only screwed up, but he's screwed up bad. It meant that they're keeping this conversation on the down lower than low, and he owes his Pinky big time. Clint found these on the carnival security footage two days ago, and I had to talk him down from reporting to HR. I made sure he knows you owe him your life, and then some. Pinky continues, uncharacteristically serious. It's the most off-putting thing in this entire scenario. He's not Carl, Perry, not every intern in this company's all too happy about keeping their mouths shut about your goddamned crush. You took him to the pop shop? What were you thinking?

I was thinking it was an accident. And it was barely a date. Perry retorts sharply, hands stuttering on that last little tidbit. Wait, screw that, it wasn't a date at all. We were just-we were technically stalking Vanessa on her outing-

I'm not the goddamned Colonel, Perry. Pinky interrupts sharply, slicing his hand through the air. You don't have to make your excuses to me. It doesn't matter what it was, unless you're standing by Francis' desk when he has to answer for the shit leaking up the grapevine. It matters how it looks like. Perry, you don't need me to tell you to be-to be careful.

Perry grunts, slumping into the back of his chair, hands slapped over his eyes as he attempts to calm himself down. I know, he signs, one handed. I know, Pinky, I'm sorry. Thank you.

And he is sorry. He is as much grateful that Pinky caught it first, being the Chief of OWCA's digital security division, as well as that he had enough weight to throw around to stop these photos from leaking onto Francis' desk. Pinky didn't have to, but of course he did, because they were friends, and Pinky cared about him.

These last few years have been...hard. Harder, knowing Heinz was getting so ready to hang up his labcoat (at least in the evil sense of the word), a growth in character proportional to this terrifying, unnameable thing growing between them, full of weight and wonder and meaning.

It's made him reckless. And everyday that passes them by without having Heinz in his arms, it's getting harder and harder for Perry to remember why that's a bad thing.

Pinky sighs, squeezing his shoulder. "Hey," he says, out loud this time, so that Perry takes his hand off of his eyes to peek. "On the plus side, I've never seen the guy look so happy."

Perry feels his ears burning in embarrassment, and Pinky laughs, low and sincere.

"You guys look cute together." Pinky teases, and laughs when Perry swats at him, shoo-ing him out of the cubicle. He does leave, eventually, and Perry knows he owes the man lunch for at least the next two weeks, and taking over his next spare mission, at least.

He leaves the photos behind, and Perry picks them up, his hand reaching for the lighter he keeps on his lowest desk drawer to burn them over his wastepaper basket. They are likely the very last trace of such damning evidence of Perry's...Perry's fraternizing, too risky to keep around, and he has to burn them. He has to.

Heinz was caught laughing, in one of them, his hair ashen-grey around the edges from the debris of his latest failed Inator, but there was no sign of bitterness and regret in his features. Perry remembers how the wrinkles by his eyes had started to curl down his cheeks, like paper folded down the same joy-filled routes. Laugh lines. The photo could not capture the light in his eyes then; The setting sun had painted the slant of the pier a blood orange, but looking into Heinz's darling blue eyes was like looking into an eternal summer, evergreen.

They shared one drink, because Perry wasn't hungry, but Heinz wanted something sweet, and there wasn't anything Heinz wanted Perry didn't want to pay for. The two straws were a compromise, and the bartender had given them both a sly, knowing look Heinz had not understood, but Perry had. It took him hours to cool down the blush from his cheeks.

Heinz had called him cute.

In another photo, their heads are bent together, conspiring over Vanessa's love life, and Perry does not mistake their fingertips over the tabletop, his palms curling over the back of Heinz's own.

I've never seen the guy look so happy.

Damnit.

DAMNIT.

Fuck. Damn. Shit.

Perry throws the lighter back into its drawer with a vengeance, clutching the stack of photos like a lifeline. He slumps over his desk, burying his face into the crook of elbow to muffle a frustrated scream. Is this really how he was going to repay Pinky's concern? By shutting his eyes and spelling out his own doom, tucking the evidence of his own sins into his fucking wallet? Was he stupid?

(Is Heinz worth it?)

Yes, Perry knows, because the one person Perry could never rightly lie to was himself. Yes, he is.

I got the inspiration from this post

[vigilskeep]

give me the Sol good & bad endings in detail pretty pls 💖

sol as a character is defined by the crows and the blight, so here’s a spread of what i might have to work with

some bad sol endings:

crow version: the Widow Dellamorte. sol commits to being first talon lucanis’ right hand, but fail to protect him when the rest of the crows go to war with the ascending dominance of the dellamorte-de riva-cantori block. desperate to cling to whatever they have left of him, they allow themself to be possessed by spite—a fuller meld than spite/lucanis ever was, more in the anders/justice style—and become a vengeful winged monstrosity effectively haunting the dellamorte villa. black veil over golden heavy armour. for now, they still recognise their friends

blight version: the blight finally catches up. sol was intensely careful about fighting the blight right up until the final days, where there was nothing for it but to cut blindly into blight cysts. obviously it’s awful and pointless for them to suddenly die after all that, which is why i think we should at least explore the possibility. for awful and pointless drama. the ending they were kind of hoping for, just when they no longer want it??

alternate blight version: okay this isn’t an ending per se but i still think ghilan’nain should have gotten to turn them into a sick crow-themed blight monster at some point, as a special treat. this can also be a neutral or good ending depending on how much of themself they retain and how much of a monsterfucker lucanis is. sorry for saying that

some neutral-ish sol endings:

crow version: the First Talon’s Executioner. this is the version where sol goes back to the crows and it’s essentially business as usual. i can’t imagine this as good, but with their renewed appreciation for what they have and the lifetime of focus and activity ahead in order to just keep their heads above water, it could be survivable. and lucanis is there. but then i think about how permanently damning the step is where you start raising the next generation for it and i feel a bit sick

blight version: warden sol! sol finally gets up the nerve to cut ties with the crows, making the necessary choice for themself even if it means losing the people they love most. they take the joining and build what life they can alongside davrin, evka, and antoine, slaying darkspawn and finding a new path for the wardens following the tracks of a changing blight. it’s ugly and terrifying and hard, full of horror they never get used to, that will still be making their skin crawl until the day it kills them and drags them down, far from the comforts of home. but as a life, it is, at least, theirs to choose

some good sol endings:

crow version: a newly re-energised sol takes their place at lucanis’s side but considers things in ways they never could have before. why does going back to the crows have to mean they’re locked in place? they aren’t the underdog just clawing for survival that they once were, and they don’t have to act like it. they can do better! they have viago and teia and lucanis and people listen to them. if the dread wolf can change, can’t the crows? through a certain connection via the wardens, they make a contact who has very interesting ideas on the crows’ future

blight version: sol accepts they can’t stay with the crows, does a whole tear-stained confession to a shocked and distraught lucanis, and walks away. they settle into helping davrin, evka, and antoine against the changing blight. nobody actually requires them to take the joining because, hey, they’ve already gotten rid of more than enough archdemons for one person (showoff), and sometimes it is actually helpful for them to do their crow thing as the combatant the darkspawn can’t sense coming. maybe a year or two later, the world’s most miserable first talon (“they don’t even let me do my own assassinations anymore!”) quits his job, thoroughly disappoints his grandmother, thrills his demon, hands all his power to teia, and shows up somewhat nervously with as many antivan delicacies as he fears forgiveness will require

[prof-peach]

Bit ooc but I have a question. How you do go about planing out your PLA comic? Like how do you actually turn your ideas/ storyline into comic form? Is it chapter to chapter or do you have the whole idea already planned out? Trying to find my own way in comic making so I’m just wondering if you could give any advice. Feel free to ignore if you don’t feel comfortable answering

So, at first this was al i could think to send.

because its incredibly accurate to my process.

Jokes aside, a lot of how i work is back and forth chaos, fighting with ideas until im happy with them. I will start with a list (usually not written down because im unhinged and keep a ot of it in my brain) and organise it in a way that makes sense to the situation, in this case workign with a game with an established plot...not that its a very strong one.

with a set of ideas, and a game to work around i will ramble and rant to a few choice people who i bounce well off, and also stare into space for hours on end building the ideas. This process can be days, it can be years. For context, i have some notes from 2019 about things i wanted to include that are still relevant. I have been scheming how to break and rebuild this OC for ages. Theres no correct time frame, so long as you simply do the work.

Once i have a fairly loose plan, i start to solidify the benning and the end. What is required to make a character compelling, what makes them believable, what makes them human in a way that we recognise. this isnt always a positive thing, people like to call characters who do bad things problematic, but its human nature to make mistakes and be damaged or difficult, the process of the story is not always rainbows and sunshine. For me, this hits even harder, as im trying to tell a story from the perspective of someone fundamentally broken, so showing those breaks and cracks has to be done wisely.

This is the point where i make notes about things that need to change from the start to the end. And ill say one thing, this story in particular, I have not solidly planned the middle. I am allowing space for me to come up with new ideas at points. Being locked into a dead set of ideas can be quite limiting, and as creators we consume and process things constantly to generate new stories. Id be a fool to make a plan and stick to it. everything i do is vague guidelines.

However, I know exactly how the story ends in Hisui, and where it goes to from there. And i think me personally knowing the end goal makes it easier to plot steps towards that, and some of those steps are anything but progressive.

If nothing else, the end was the only thing i saw clearly, and it has only become more complex and loaded and emotional as the rest of this has fallen into place. If you can see the goal, you can work out how to get there with time.

Regarding the chapters, i tend to draft plan up like 3-4 of them at a time, and then go in order to sketch out one after the other, so i have plenty of time to change things while i adjust. its constantly a process of seeing what you make, seeing issues, and scrapping whole parts just to redraw something better or new, unique even. I dont think a single page ive posted has resembled the very VERY first draft thumbnail ive made, and thats just how i do. Every panel, how big they are, the angle you hand the viewer, the way you light things, the expressions, this all dictates SO SO much.

Taking time over it is kind of the job, and let me stress, this is normally a job done by a team, especially the highly popular comics. one inks, one colours, one shades, one handles text, one edits, theres so many people behind it, so dont be bothered by the pace at which things are made if youre working alone like i am. One person means longer production times, if you can, spread the workload out, but its not required. Its why i always say it doesnt matter how long it takes to make, so long as youre still making.

I think its also worth noting, comics are consumed quickly, the bakcgournds and small details can be lost in the ace of the storytelling, pick and choosing your battles is wise, save your time on panels where you want the reader to shift along quicker, keep that pace high, and add in more detail and depth to panels you want to champion or get the viewers to hang around on more. its ok to let go of a "perfect" image in favour of getting content out, if youre being driven nuts by it. Again, time be damned, be happy with it. And if you can let go of petty details, id suggest doing it when possible, so long as it doesnt effect the storytelling.

I mean what else can i even say. This work is a passion project, I love it, more than i can even put into words, and i think you kind of have to, to make comics without monetary motivation. sure you can get lucky and find ways to make it big, but for most of us, its the love of the story. So maybe try not to be your biggest hater, its easy to slip into the behaviour, so try be gentle on yourself and the process. I should take that advice myself haha! but i really do mean it. This is HARD work, so be kind to yourself over it.

anyway, with a rough idea, a bunch of sketches, and time, they get inked and fussed over, i make a billion changes to layout and story, and eventually posting can happen but not after fighting with the monster that is creating. Idk what else i can say. This is not work for the feint of heart, but anyone can learn to do it.

Good luck, comic artists can always use it!

[scopophobia-polaris]

So, to add on to Navi's post, because her whole read for the original was getting screenshots from the game to debunk what was said, of course....we are now here. I want to tell you that no one here disagreed with your conclusion about Ganondorf being a victim. What we here disagreed with was the method you used to get there. Simplifying Ganondorf down to solely good or solely evil is something this Fandom does all the time with little to no nuance. And even though you have written an eloquent essay, Published even! You twisted or outright made up parts of the game to get to your conclusion. In essay writing, that's called a logical fallacy, and the whole essay either twists what happens in the game or outright gets it wrong.

Now people are probably gonna wonder why I'm treating this like a big deal or why I'm speaking so blunt, because this is by all means very stupid fandom drama.

But I think when you're a college prof and you get an essay published and it's online for people to read everywhere without you, one, not giving the context behind Ganondorf's creation and the coding of his appearance and motivations, two the complexities of a corporate conglomerate in a notoriously socially conservative country taking aesthetics from countries who were historically colonized. And Three, The way that video games are a collaborative effort with usually no singular vision, this is very true at nintendo despite what people may think, and at any moment changes can be made for any reason by team leads or executives that would hinder or even hurt a story. It detrimental to the audience reading it that you do not provide them more of a couple of screenshots

Basically, many things go into a story and now I'm taking this more from a DOYLIST view right here talking about Nintendo. But I'm doing this because you keep trying to say..... well fuck man do I need to pull up more examples? Navi got them all, the whole essay is you trying HEAVILY to imply that Nintendo MEANT to do all of this, as in intentional in the story, idk I feel crazy, words have meaning, specific wording has implication, oh and this dosent even get into how localization can change things 😃😀 wording has meaning and sometimes translators don't have cultural contexxxtttttttt and to not even mention about Nintendo's history or even the short hand that comes from Ganondorf's design and the historical Orientalism behind it feels like a disservice to the paper, but much more qualified people then I have discussed the way Ganondorf is written and probably would love to discuss or link to previous writing again if asked.

And this is a cold take but Nintendo isn’t the place you should be looking to for deep story telling, they will always be a corporate entity first and the bottom line is a general audience, this does not mean JUST KIDS this means to a generalized population. And this is extremely cynical but a lot of people cant even handle the complexity of a female character who is mean, like Midna, do you really think people would handle a Ganondorf like how he is in Tp being portrayed in any form of film language as good????? This game dropped 5 years after 9/11, Nintendo was never gonna lose out in money like that.

And Dude people have given so much shit to HUGE fanartists and comic authors about their work portraying Ganondorf in a sympathetic light, you would of thunk more people would of picked up on Ganondorf's story being written as tragedy if there was something in the game that actually DID that. Maybe they would of written a blog post about how Midna saw Link kill Ganondorf and was ashamed of that or Ganondorf TOTALLY said the history of light and shadow will be written in blood thing before the final battle, you think people would of talked about huh why did Ganondorf say that there or something and maybe went 🤔 instead of it being argued that Tp Ganondorf had the weakest writing of the series until TotK threw a pile of flaming shit at my door with a picture of Ganondorf on it.

Navi also goes in depth on how Hyrule has not exactly stagnated like what was claimed in History of Light and Shadow by using the Goron merchants and Yeto as examples.

Rynling has stated that the cause of the stagnation and decline is due to an ineffectual leader that has "Not allowed its people to be revitalized by change and diversity."

Now I am familiar with the flaws of an undetermined national unity, I am very familiar with the subject, but I’m not going to speak like an authority. Id rather let someone much more qualified make that post and I link back to it, because i know its coming. But Navi said in her post that the idea of what could of happened at Arbiter's Grounds can completely blow over someone's head if they didn't play OoT first, and I think more or less this is accurate, certain things are lost in Wind Waker even with the recaps, but I wanna join in on this in my own way...

Rynling....you may say Hyrule has been on a decline during Tp......you may even think OoT had a more stable Hyrule or some shit.....i THINK YOU FORGOT ABOUT THE PLOT OF OCARINA OF TIME BAYBEEEEEEE

THE SUPPLEMENTAL MATERIAL THAT I CAN PULL UP TO PROVE MY SHIT ABOUT OOT HYRULE BEING DOG SHIT IN COMPARISON TO TP

Like if you're seriously gonna link me and Navi to your essay then I am about to go full BTW it's a Sativa and eat that bitch after midnight cuZ we YELLIN ABOUT OCARINA OF TIME ON THIS POST FOR EVERYONE🌟🌟🌟🌟🌟

All of Ocarina of Time's narrative is haunted by the civil war, the whole reason why Link is being raised in the woods is cuz of the civil war, the Sheikah are implied to have died out during the same conflict, and well its said that Hyrule was unified during it

Civil War yet the translators use unified the country like it WASNT under a sole ruler before? Hello? I need to go back through the Japanese script for the game again to see if i missed something of the game and freak it harder. And do realize the Deku sprout in this screenshot says fierce war but every where else, including the Zelda wiki (not fandom) its CIVIL War.

The Gate to Death mountain and Simultaniously the fence at Zora's river gives us and idea that peace was....tenuous at best downright hostile at worse given relations with the Gerudo

so today we gonna do some fun comparing and contrasting the Gorons and how they are treated in OoT to TP

and we gonna start with his racist ass BHJBHDBHKCJW

I mean, damn remmeber how mad Darunia is at Link for being the supposed royal family messenger? Link Unlocking the door to Darunia's room with Zelda's lullaby, I think it's a little funny that Darunia is hung up , you know, like he knows this is some disrespectful shit

Hey wannna hear some shit? The gates at the edge of death mountain aren't guarded by Gorons and were not built by them you can tell, the only way to visit the mountain is to get permission from the King to go up and not from the people that actually live there

God and like, there is something about the way Darunia locks himself in his room, like he does it to keep the ruby safe from all the other Gorons being so hungry that he's frightened they're gonna eat it, he doesn't know what to do on how to act about the Dodongos that Ganondorf summon on him for not giving over that rock. It qlmost sounds like when Ganondorf came in and Threatened Darunia, and that he (Darunia) sent a message to the royal family asking for help, why else would he be expecting someone to come meet with him?

"If I'm not mistaken, you came out here to eat the red stone too! Well, too bad! It's not here! What? That's not why you're here? You're looking for a "Spiritual Stone?" You must mean that delicious-looking red stone that was once displayed above the city! I was so hungry that I thought it would be OK to just give it one tiny, little lick...so I snuck up there. But it was already gone! I think Big Brother took it away. He always says that everyone is after that red stone! Big Brother has shut himself up in his room saying, "I will wait in here for the Royal Family's messenger!" this is a quote from the Goron that you can find on the middle of the rope bridge thing in Goron city.

Yeah so he sent a letter or something and no one answered yeesh.

contrast this all with TP where OH LOOKS WHO'S GUARDING DEATH MOUNTAIN

so in TP spoilers, this happens

Kakariko is more connected then ever! Renado here is wondering what the hell is going on with their FRIENDS. And yeah the Goron elder Gor Coron is trying to keep the last few people from kakariko left safe, and other Gorons, i mean, theyre keeping a piece of the fused shadow in there. also the way that entry into the temple goes in this game is cute, Darunia was freaking it cuz everyone is starving, but here Link wrestles his way up a mountain to ask the Gron elder whats happening since he was asked to come here by Renado, Gor Coron goes DAMN

unless......?

IDK ITS LIKE? ITS SILLY? Idk Hyrule isnt the best place but why try and act like this doesnt happen during TP?

so where am i getting at with this? the hell was going on back during OoT? If things are so odd and weirdly tense with the gates gaurds and non responses

"As time passed, the Triforce became a legend, and the different people of Hyrule forgot the laws and wisdom that the goddesses had left behind. Warfare and strife became common in Hyrule, as the armies of the Zora marched on the Hylians. The Gorons fought the Gerudo. It seemed every race of Hyrule was at the other's throat. Only the secluded Kokiri, sheltered by their magical forest and the Great Deku Tree, were spared the destruction of Hyrule's civil wars.

After 50 years of ceaseless combat, there arose a Hylian King of great wisdom, courage and power. Through his brilliant military campaigns and wise diplomacy, he was able to bring the varied people of Hyrule into a tenuous harmony. Treaties of peace were signed, and prosperity once again seemed to bloom in Hyrule. But no sooner had people declared peace in Hyrule than trouble once again stalked the land."

Tenuous Harmony, could you imagine if they dropped a line like this in Creating a champion? The tumblr side of the fandom would go fucking nuts with that info like OHHHHH SHIT WAS GOING ONNNNNN

This was ALL on the offical Nintendo Zelda website back when oot was the big game out, we have this cuz someone saved it to the wayback, THIS SCREENSHOT WAS FROM DECEMBER 14TH 2001, ABOUT A FULL YEAR AND A DAY UNTIL WIND WAKER WAS RELEASED IN JAPAN. THAT'S INSANE RIGHT???? ‼️‼️🔥🔥🔥🔥🔥🔥

And then it all probably got deleted once wind waker became the new thing!!! Or when they wanted to modernize and deleted it!!! THAT SUCKS RIGHT????

And what's worse is that it introduces some new info and also clarifies something. Hey you know when I made that post like damn Darunia racist as hell

"Warfare and strife became common in Hyrule, as the armies of the Zora marched on the Hylians. The Gorons fought the Gerudo."

NO WHERE IN THE GAME THE LEGEND OF ZELDA OCARINA OF TIME IT SAYS THIS, IT DOES NOT STATE THERE WAS CONFLICT BETWEEN THE GORONS AND GERUDO.....LIKE DIN GET YA KIDS.....IM LOOKING EVERYWHERE FOR SOMETHING I MUST OF MISSED.

But Like oh hey a fucking explanation to why he just fucking says that, I figure it was cuz of Ganondorf trying to almond mom all of them or that he kept talking to the King and well.....Navi already showed the GENERAL reaction to the Gerudo in castle town.

it went from oh hes just racist to dARUNIA AND GANONDORF HAVE HISTORY????

But the interesting one is why did thy Zora "marched on the Hylians."

Like sitting here like, I know a comic made in Germany shouldn't be a be all end all in shit I knew it never was and it would like. If you put this in warrior cats canonicoty categorization would be considered lower down supplementary material dubious canon, but their are things in the comic AND the Himekawa manga that behinds some behind the scenes actions given that LINK'S MOM HAS A MOSTLY CONSISTENT DESIGN WHAT THE HELLLLLLLL. And I always thought the Goron Zora war thing was stupid but Nintendo then had that out on their website, what the hell was going ON.

Because idk i didnt think much of Zora De Bon XVI and the Hyrulien King's relationship but

Now a days the Zelda website is much different and does not have lore pages like this anymore, it's more like a summary of the timeline. But yeah actually Nintendo approved shit, Hylian/Zora war.

Hyrule is progressing, its just going slowly, Hyrule is not AS stifled by its monarchy or a lack of integration during TP because Hyrule IS integrating, is people's are intermingling like is hasn't before during this game.

And this isn't even to get started on the E3 demo of Twilight princess that the trip that Link is supposed to take at the beginning of the game was to be the representative of Ordon at the "Hyrule summit

and Hyrule is described in a VERY specific way

Kingdom of Hyrule and neighboring realms? like theyre all not under the crown? so like???? FUN, that didn't end up making it in the game. the dailouge that is, But the remints is still there in the way the game is made up, like how OoT is built off is civil war bones

actually funny, Navi just got me screenshots of the way the dialouge was changed here

Like stuff clearly changed during the demo and finished game, I should of been touching more on the intricacies of how like shit was just change for no reason sometimes but uh....

But maybe @rawliverandgoronspice would want to one day like about games industry stuff if you ever want to 😭 I know you're super passionate on this and I wish I like even off hand mentioned something about how like TP is also effected by how games are made but I didn't and I'm a fool but games are complicated as hell and that post you made talking a bit about it was fun ya know 👉👈 and the Beta of Tp changes a LOT of stuff, one Rusl really is like a brother to link in the way he messes with him, it actually makes some weird Nintendo licensed shit saying hes like a big brother to Link made WAYYYYY more since with the Beta in mind, but....that also mean they tried to keep the big bro vibes....but then put the dad ones in there too like.....uh...did..someone not change his summary anywhere?

that was my big thing i wanted to talk about, navi's already touched on everything else i just think the parallels here between the Goron quest between OoT and TP changes in such a nice way.

And like this doesn't get into other shit about TP, like if we wanna deep dive into shit ya don't gotta do it by twisting the story, like I was going and talking to @blackautmedia to ask with some help when it came to like.......god idk what i even said anymore i was going a mile a minute. He wants to write his own thing on Twilight princess so im not gonna step on his toes but he has recommended Arabs and Muslims in the Media: Race and Representation after 9/11 by Evelyn Alsultany, the link I provided here is too her website and her page on the book this link here is from her own site that has a pdf of a part American Quarterly with a paper by the same name.

Anyways i wanna reflex for a moment cuz ive been up for hours finishing this because my brain wont stop unless i do. But the thing that by all means started this, was not your reblog linking me and Navi to your essay, or that there is 2 versions i found out where the paper published one had a lot more context to why you wrote your tumblr post the way you did, Navi helped me get the parts that were cut, please realize removing these does not remove the sentiment from the essay, its baked in.

fanfic, its a popular Fan interpretation that there was fighting between the Gerudo and Hylians after Ganondorf was caught trying to take the triforce, but this is not stated to of happened in the lore itself or even has evidence to back it up other then the Implications of Arbiter's grounds theory

UGHHHH AND THIS AGAIN "Twilight Princess Delivers a subtle yet poignant protest against neoliberal discourses of empire reflected in the rhetoric of heroism inform the geopolitical movements of Japan throught the twentieth century"

WHAT ARE YOU FUCKING TALKING ABOUT......

i dont mean this in a stupid ass way, im saying where the hell was about the protest thing, wait i really shouldt take from the published one cuz you actually dumbed down the line for tumblr

anyways again, where, Navi made it clear enough with her own post that, no, the way that Ganondorf is animated has no sympathy for him until the light is literally leaving him. Hell Twilight princess inst very kind to the gerudo either given that the only thing said about them is that they were thieves and nothing more. Like somehow OoT is more empathetic to the Gerudo, it doesn't just call them thieves, it aint great its not even good its just a bad portrayal of a people, and yet somehow OoT is willing to show the Gerudo in a neutral light at points then TP ever did.

but the reason i decided to just throw down a post is cuz i was pissed that you went after Ezlo for reblogging ME and NAVI's posts and purposefully misunderstood their fuckin wind waker post about ZELDA YOUTUBERS

dude you had them getting genuinely harassed by people with 0 reading comprehension that thinks a snarky reply to a tumblr post means its 100% correct. Webbed. Site.

anyways, I hope people don't take this as a right or wrong way to interpret a piece of work, as stated before, I read your essay, navi read your essay, you changed parts of Twilight Princess to get to the conclusion of you paper...And im gonna be real but it's kinda crazy that you're using post colonial melancholia for this when it's got some.....well something like idk i need someone to do a full ass review because there are point where i gently raise an eyebrow im gonna be real. but also like

like how do you read his book and then miss out on this, one of your whole big aruments is that hyrule is stagnate and not multi cultural and i had to grab screenshots and Navi had to get shit from the game.

like damn, do yall ever uh feel a strange sadness when dusk falls? i do. Idk this is one of the first and last times Nintendo ever delt with Ganondorf with some form a sympathy for him, cuz we got the dragon explosion in totk its like oh he's turbo evil now and he exploded you exploded him and yet the Gerudo probably still gotta pay for his shit from a billion years ago anyways idk idk idk pot shots at totk again.

I know you dug around a little for that post, and I understand from the numerous people that dmed me about that, you probably went on making an essay on their post so you could sound smart again.

And to be clear, I was told to drop some shit i was about to say about you because no one wants to start fandom drama, neither do I truly and any jab on the post itself would just be rude. people change and some people only learn to shut the hell up, so we'll keep it at that. I just hope you really don't truly recognize some of these people you started shit with.

So yeah tldr, uh.....idk, im going in for an autism screening in a month

also me watching the ending to windwaker cuz i wanted to say something about stong endings TP fans im sorry But Wind waker's ending hits no matter what best sequal to OoT thats isnt Majora's mask

The History of Light and Shadow

At the end of Twilight Princess, Ganondorf delivers one of his most memorable lines, “The history of light and shadow will be written in blood.” He is not wrong. As the player has witnessed over the course of Link’s adventure, Hyrule is haunted by ruins and ghost towns, a mere shadow of what it once was. The landscape is filled with numerous sites of past violence and empty spaces visibly marked by decay and wasted potential.

When Zelda tells Link and Midna that “these dark times are the result of our deeds,” she is referring to specific historical acts of imperialistic aggression. Hyrule established hegemony over its outlying territories by crushing the rebellions against its advances, but the kingdom has suffered from cultural stagnation as a result. Without the dynamic diversity symbolized by Ganondorf, Hyrule finds itself in economic and political decline, isolated from any contact with the world beyond its shrinking borders.

As a representative of a marginalized group of people who have been attacked and driven from their homes, Ganondorf is a tangible manifestation of the horrors of imperialism. He must be defeated, but doing so does not address the underlying problems that have resulted in Hyrule’s decline. I therefore want to argue that Twilight Princess uses Ganondorf to deliver a subtle yet poignant protest against the discourses of empire reflected by the dualistic “light and shadow” rhetoric of heroism that has resulted in tragedy and regret.

Keep reading

[zuko-always-lies]

You post a lot criticising Zuko. Do you like Zuko or not?

(genuine q)

Well, let me break that down a bit:

Do I think we should have sympathy for Zuko?

I think as a 16 year old abuse victim he deserves a lot of sympathy and should get support.

Would I enjoy being around him?

No, I think the Zuko we see is a deeply unpleasant person and I doubt I would enjoy it if I were around him. However, I suspect I would also find Azula, Mai, Ty Lee, and Toph quite unpleasant to be around too, so that's hardly unique to Zuko.

Do I think Zuko is an interesting character?

I think Book 1 Zuko is actually quite interesting and in his own way quite likeable, even if he's a terrible person. Book 1 is where Zuko's writing peaks for me.

Beyond that, I honestly think Zuko becomes much more boring. The writers started leaning entirely on having viewers closely emotionally identify with Zuko and feel personal emotional catharsis when he "achieves redemption." If you don't, Zuko becomes much more boring and the flaws in his writing become much more apparent.

I also think Zuko isn't a particularly interesting or unique character in general. Azula, Ty Lee, and even Mai all manage to be way more interesting and unique than Zuko, despite getting vastly less character development time. At their core, Zuko's arc and themes amount to rejecting an abusive father in favor of a better surrogate father, which feels pretty standard to be honest. By contrast, I can think of only one character the least like Azula in any Western media, Miles Vorkosigan from the Vorkosigan Saga.

Honestly, the most interesting thing about Zuko is analyzing the difference between how the narrative frames him verses what his actions actually suggest about who he really is. That's probably why I write so many "Zuko critical" posts, because I find analyzing the difference interesting.

Do I think Zuko's arc was well-written?

No. The writers were very good at tugging at the heartstrings but beyond that I think "Zuko's redemption arc" is not nearly as good as people make it out to be. In particular, the way that the narrative after Book 1 stops holding him accountable for anything he does weakens his arc badly. That, along with making Iroh the center of Zuko's arc at all costs, made things drastically worse than the original writing plans for Zuko.

Do I think Zuko is the morally pure perfect Firelord the narrative tries to sell him as?

The finale tries to present him that way, but it falls flat for me. Zuko is a very badly flawed person who never addressed most of his flaws, and he's not the least bit suited to be Firelord. The narrative needs him to be the perfect, rightful prince who will redeem the Fire Nation from darkness, and if Zuko had been written differently and his arc had been taken in a different direction, he could be that, but he's not. I could never buy the person we see at the end of the show being a good ruler, and I could never buy him being happy as a ruler.

Could Zuko be an interesting character?

Hell yes. If the narrative had been less prone to gloss over Zuko's many flaws, and more inclined to force him to address them and deal with the consequences of his actions, he could be very interesting. Even if the narrative was willing to seriously acknowledge Zuko's flaws without having him ever improve on them, things would be more interesting. The Zuko-Azula relationship is actually super-interesting if you think deeply about it, but you need to ignore everything about how the narrative frames them for it to be interesting. "Good boy tormented by evil demon psycho younger sister" is boring as hell.

[wisteria-lodge]

"He starts acting more like his mother, and this works well for him. I honestly think Draco takes after Narcissa much more than he takes after Lucius, it just takes him a second to figure that out"

Wait really? What does it mean? Like if Draco doesn't do things in a showy way it will all work put for him/it makes him have a higher chance of succeeding? Or does it mean that he does best if he works behind the shadows type?

"But in Book 6 there's a rupture between Draco and Lucius" Is it because of this that when Lucius called out to Draco during the battle who didn't come until only Narcissa called for him?

"Vincent Crabbe and Gregory Goyle are *quite* committed to keeping Draco Malfoy in one piece" hmm I kinda don't agree with this because they usually let Draco get beat up right? Or maybe I'm remembering incorrectly?

I'm catching up on your metas I really love them so much

~ re. this meta about how Lucius and Narcissa use power ~

Yeah, Draco is not the most... effective character, for most of the series. Generally his plans backfire, or just don't work at all. Taking Neville's Remembrall gets Harry on the quidditch team, luring Harry out for a duel and snitching about Norbert gets *Draco* in trouble... he's not able to get Buckbeak executed or Hagrid fired, the Inquisitorial Squad doesn't really make a difference, even other Slytherins get sick of how often he does impressions of Harry fainting or whatever. The Support Cedric Diggory/Potter Stinks badges... I'll give him that one. But that's also him being unusually subtle/sneaky (trying to stay under the radar because he's scared of Moody.)

I would say that when Draco plays it subtle, sneaky, and patient - things do work out a lot better for him. He starts getting effective in Book 6, and I don't even hate the poisoned mead/cursed necklace plan. I mean *morally* obviously it's not great, but as a tactic it's kinda brilliant. It reminds me of The Great Escape:

"Perhaps we're being too clever. If we stop all the breakouts, it may only convince the goons that we must be tunneling."

If Draco throws out all these showy attempts (that Dumbledore calls "desperate" and "feeble")... well, then Dumbledore is much less likely to suspect that Draco has additionally spent the all year essentially building a tunnel. He's using both his parent's strategies simultaneously: cursed artifacts, poison, imperiusing someone into helping - that's all Lucius. It's in-your-face, and soaks up a lot of attention. BUT - slowly and carefully fixing the Vanishing Cabinet so people can sneak in... that's all Narcissa. And so is the way he's made sure no one is paying attention.

We also see this with his passive resistance in Book 7, not identifying Harry & co. when he has the chance to. That's also a very *Narcissa* move. We even get little moments in Book 7 where he's actively being coached in his mom's don't-attract-attention strategy:

The hilarity mounted; Draco Malfoy looked in terror at his father, who was staring down into his own lap, then caught his mother’s eye. She shook her head almost imperceptibly, then resumed her own deadpan stare at the opposite wall.

~ * ~ * ~ * ~

The moment where Draco doesn't go to his father when Lucius calls for him is a movie-only moment, but it fits. Draco spends Book 6 pulling away from his communities - the Slytherins, the quidditch team, the Death Eaters. He's realized that he doesn't want what they're selling. And pulling away from the Death Eaters *does* include Lucius and Severus (who he doesn't know is a spy.) Instead, Draco seems to spend a lot more time alone, with his mother (I just can't believe Bellatrix was the one giving him occlumency lessons, that is such a Narcissa move) and with Moaning Myrtle.

~ re. this meta about the Malfoys during the first war ~

I mean... Crabbe and Goyle aren't very *good* at keeping Draco in one piece, but they do try, and whenever someone is beating up Draco, Crabbe and Goyle are right next to him fighting someone else. They also get a shout out for being some of the only people Draco actually trusts during Book 6, and they stand guard for him, even when polyjuiced into 11 year old girls.

[imbecominggayer]

Writing Advice: How To Condense Your Story Down

From @melda0m3 we have: I'm wondering, how do you fit everything important in fours episodes of 5 minutes? (Yeah... Maybe I'll change it to more if I can't find my answer). I plan on making it really like a series, but without the visual aspect, so no narrator describing anything, just dialogues

Personally, I have no experience with podcasts or recording whatsoever but I do know a little bit about formatting and scripting so that's what I'm going to do!

A) Script Out What Needs To Happen

Grab a computer or a piece of paper and write down everything that needs to happen in this chapter.

In general:

In the first few chapter, it's all about establishing the status quo. What are the relationships like? What are their beliefs?

Then the next middle chapters are about the status quo changing. New lines in the sand are forming. People are going new places. New. New New.

The final chapters are about the conclusion and reflection. Thinking about what happened. How it happened and giving the reader a taste of what the future may bring.

It's incredibly important to have an idea of what the purpose of the chapter is because otherwise the plot tends to either be too slow or too quick. Scripting can serve as a check-in to see if all the actions are flowing in a logical and straight-forward way. The scripting can also create a chronological schedule for not only what needs to happen but also when it happens!

It doesn't have to be detailed. For an example of a cursory guide:

Chapter 9:

Haun reveals how they aren't the chosen one to the King

This causes his adoptive father to banish Haun from the castle for the time being until this mess can be sorted.

Haun's banishment incentivizes Niko to use this opportunity to sneak into the previously hidden room while the King is distracted

There! Short, sweet, and with a logical flow!

B) Write It Out And Chop It Down

The first draft is the indulgence draft. it's the draft where you plop your consciousness out onto the page and see what gets created.

Then you can use the subsequent drafts to cut it all down.

Example A: The house was utterly decadent and large with cracks running up and down everything since it used to be abandoned a couple of years ago. Every single step inside the house rings out a creak and every single glass from the window lost it's sheen. It's just so strange that a house as rich as this one as built in the woods though. I can't believe I used to live here when I was a child.

Example B: The forgotten mansion stood proudly in the forest like an aging warrior holding onto the glory days. Vines caressed each column with a motherly touch. It's almost like it's judging me for having dared left such a beautiful place to wither away.

The problem with the first paragraph, in my opinion, is the obnoxious repitition of how abandoned and decadent the house looks. It doesn't provide additional detail. It just reiterates the fact that there are creaks in the house and thing are dirty. I also dislike the non-sequiter revealing how this used to be the narrator's house when the description doesn't fit a nostalgic or childhood vibe at all!

The first sentence of Example B paints the fact that the mansion is forgotten and large in one simple sentence while Example A takes two uninteresting sentences to do it. Example B uses (or tries to use) nostalgic language to talk about the home so that the reveal the narrator used to live here doesn't come as a shock

C) Dialogue

Dialogue is the most important thing in this project so we have to get it right!

Every single piece of dialogue needs to communicate:

Knowledge (what a character knows)

Personality (how a character acts)

Emotion (how they feel about what they are saying)

Intention (what they are trying to say)

There almost always tends to be a secret 5th element

Secrecy (what they're trying to hide)

This is the case during jokes, love confessions, exposition, and everything!

That scripting thing I was mentioning? Pull that out now! You need to establish the setting? Have a character do it through some dialogue!

"All I can do now is pray Mrs. Jackson forgot about the test!"

This little sentence reveals:

Setting: At or about to go to school

Character A knows there is a test today and they haven't studied

Character A is definitely not studious and probably a bit careless

Character A is nervous about the test

Character A is trying to communicate how they forgot the test

You can also use another character's dialogue to do all of this while still communicating something about another type of character!

For example, Character A could have said:

"I just fucking hope little pet Micheal doesn't remind Mrs. Jackson we have a test today."

This not only establishes the dread and personality of A, it also establishes how Micheal is a teacher's pet and how Mrs. Jackson has a bit of a forgetful streak if this is a reoccuring event.

The dialogue also serves to establish relationships and motivations for why those relationships happen! A is a careless student who resents Micheal for his dedication to school and being a moral little stickler for rules while Micheal has respect for the teacher since they share similar values about education.

D) Inspiration

Since I have no expertise with this subject, I recommend doing the tried and true method.

Find people who use idolize that do this, analyze their structure, and apply it to your own work.