#have tone and consequences relevant to the story

[jupiterjunebug]

Actually its been 2 days and ive now seen some posts around of ppl not just saying "i wish" but gettinf angry and i changed my mind. Its not valid anymore

If a game wants to meaningfully integrate custom protags that represents like. A significant chunk of gamedev time and money. You need to make the cc itself. Make all the armors not clip on all the new mesh options. Hire multiple voice actors probably. If you integrate backgrounds then you have to divert someone from narratives attention to making sure that gives enough flavor people are happy.

And THEN all your writing for dialogue turns from creating one protag w a consistant voice who you just have to show like, their different human impulses to give choices, into fleshing out multiple options that diverge enough the player feels like theyre "defining the character". AND because its a new saga (and also lots of ppl will pick up an older series newest work to decide if they like it) youll have a lot of new people playing blind. If youre playing a person with a defined personality then your dialogue options for "tell me about x thing i should know about" can be the npc giving their opinion and the pc getting involved to prove they live in the world, but its way harder to do that with a blank slate without either speaking for someone or your pc looking like a nonce (me, a casteless dwarf, going "whats a caste?" constantly). Even the best games w custom pcs at some point end up compromising all that because the rest of the game does eventually need to happen.

And this is a worthwhile goal if thats the game you want to make! I love games w custom pcs! But if a studio goes "our devtime priority lies somewhere else" then being nasty about it online comes off as crazy entitled. Whining and kicking your feet because you dont like Ciri and Geralt and don't want to play them, when at this pt I think its clear that following those characters IS the series identity, is like going to a banh mi shop and then going "im so mad this SANDWICH SHOP has no reubens smh". Except some of the people doing it enjoyed all three games so its more like eating there every day for 5 months and then the owner offhandedly mentions hes also owned a panini shop before (Cyberpunk) and was considering getting back in the game and then getting mad when he decides not to. Like cmon

look on the one hand ig i get ppl wanting to make custom characters in tw4 but also. every time i play tw3 i spend a good chunk of it going "wow i wish the sections where i play ciri were way longer". so let me have this. let me have her. please god everyone be normal about her i need this game to sell a million billion copies and get all its planned sequels

[felassan]

Dragon Age: The Veilguard info compilation Post 4

[Part 1] [Part 2] [Part 3] [another post]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a ‘regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

Character Creation

BioWare confirmed that even if you make your Rook a short king, the team has done work to ensure animations fit any character build [source]

"Dragon Age's character creator has seen a massive glow-up" [source]. "The volume of choices you get here are frankly insane. As Epler noted, “you could spend forever here,” and he’s not kidding." [source] The art and graphics teams spent a lot of time trying to make hair look amazing [source: the Discord]

In CC we can customise our "bulge size" [source]

Some more detail on the new lighting options to see how Rook looks like in CC when you make them: you can view them in "blazing forest sunshine versus the glare of an underground temple" [source]

"newly mobile, extra-hairy hair" [source]

Faction choice has statistical boons. For example, Shadow Dragon Rook deals extra damage to Venatori blood cultists [source]

Faction choice basically determines why Rook has been called to help in the fight against Solas [source]

All pre-determined character models in CC can be adjusted [source]

You can make a really tall dwarf if you want [source]

"Setting your previous world state is fully integrated into the character creator for Veilguard" [source: the Discord]

Inquisitor appearance will be re-created, there is no way to carry their appearance from DA:I into the game [source: the Discord]

Classes for Rook are not restricted in the sense that you can play any almost class, lineage and faction combination that you want. For example, a mage Rook can be a Crow [source: the Discord] (Fel note: it sounded like Rook cannot be a magic-wielding dwarf, even though the exception of Harding now exists) (Fel note: there is a mage Crow in one of the books)

Story and lore

Here is another article which refers to Rook as "the Rook" [source]

The story is set "9-10 years from DA:I and about 8 years from Trespasser" [source: the Discord]

They have been tracking Solas for "a while. Something else you’re gonna learn about…" [source]

The game does not use the Keep [source]

Shadow Dragon is the faction background with the most in-game reactivity (e.g. from other characters' dialogue) during the prologue section of the game, due to the fact that the prologue is in Minrathous and the Shadow Dragons are a Tevinter-based faction [source]

"I also saw a big moment after the gameplay trailer ends that I can't talk about" [source]

During the more narrative-heavy dialogue choices, "the game will also give a bit of context on what you're about to choose, but doesn't go as far as explaining the exact consequences or precisely what will happen thereafter" [source] "the game shows you how you’ll go about the choice, but it doesn’t tell you the consequence of that choice". [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"Venatori blood cultists" [source]

"The whole game has the makings of another Suicide Mission [ME2], given that you are up against a god with the ability to collapse dimensions" [source]

"Choices and consequences". "Now, it seems you can see the effects of your choices like never before, and this time, they marry that choice with incredible visuals" [source]

In the bar when you're trying to get information in the opening, if you choose to fight it out and the barbrawl ensues, you then have to run from the pursuers in the bar [source]

A key concern of the developers when creating the environments was to make “a world worth saving" [source]

The prologue is quite linear but there are additional paths you can follow to find additional loot [source]

In the opening section of the game there is a dock which has been attacked and the soldiers that were there have been killed, "but rather than seeing this passively, we walked through the aftermath and had to interact with the scene to piece it all together" [source]

The tone of the gameplay video is a good indicator of the tone of the rest of the game [source]. On the tone: "dark fantasy" [source]. horror & gore is back along with DA's classic dark elements [source]

Tevinter Nights is a better tone indicator for the game than the original reveal/character trailer. Ghil Dirthalen: "Tevinter Nights has felt the most 'DAV' to me" [source]. The gameplay reveal video is the best indicator for the tone of the game (vs the character one) [source]. there is still messy dark shit in the game [source]

Tonally the game is closest to Tevinter Nights and DA:O [source]

Ghil Dirthalen: "[as] one of those unfortunate souls who has latched onto a media world so hard: This game is for me. For the hardcore DA lore nerds, I've been secretly screaming about things I saw for MONTHS now" [source]

The game is true to the DA stories we know and love [source]

Characters, companions, romance

You can choose to engage in companions' own storylines as you progress or ignore them entirely [source]

You will often have to make dialogue choices that will affect how your various companions treat you [source]

Neve is quick-witted [source], measured and elegant [source]

In the opening, you interact with the companions as you move through Minrathous. "your choices during these interactions will determine who goes on portions of the mission with you, along with how “pleased” they are with the answers." [source]

On Varric and Harding: "Instantly the two felt like they’d never been away and avoided the trap of being parodies or fanfiction versions of themselves" [source]

Solas' eyes were always purple hh [source] (yes!)

Gameplay, presentation, performance etc

Some enemies have additional shields that are weak to ranged attacks [source]

When asked about if the war table from DA:I returned, John Epler said "There is a table. Now, whether it works the same way as the table in the previous game..." [source]

Once you get passed a certain point in the game, it opens up dramatically, however it is not an openworld game and they wanted to make sure that all the content mattered and was a more structured, sculpted experience for the player. There is some exploration, some opportunities to get off the beaten path, and some spaces that are fairly wide [source]

The button to press to bring up the skill wheel is RB or R1 (depending on what controller you're using) [source]

"You'll also have access to two skills or spells for each of your two companions that you can command. For a more seamless, uninterrupted combat experience, you can also assign these skills to shortcuts (such as holding the left trigger and hitting the X button) to quickly use them" [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"booting Fade demons into pits" [source]

"BioWare have revised Dragon Age's art direction to make character models a little more consistent with the series' lovely Tarot-inspired menu art. Flesh is ruddy to the point of painterly; facial features and bodily proportions are thicker and more striking, as though the characters had been cut from clay" [source]

The 3 specs for Warrior are Reaper (has lifesteal/stealing health from enemies, and other freaky powers, does big damage), Slayer (can wield the biggest blade, big swords, big damage) or Champion, which is tanky, shield-using and Paladin like [source] [source]

There are quick-recover prompts [source]

You can roll through puddles of incoming AOE [source]

There are ziplines between some levels levels [source] (Fel note: just like in As We Fly... )

There are also slidey hills to slide down between some sections [source]

There are still some Hinterland-type areas designed for exploration [source]

We can do some home base management to our home base [source] (Fel note: this refers to The Lighthouse, detail in a previous post)

Camera placement is quite zoomed out [source]

Where Rogues have 'momentum', Warriors have 'rage' and Mages 'mana'. When a warrior spends rage in the ability wheel it triggers more powerful attacks. this has been referred to as a build-and-spend mechanic. this system resource gates your use of more powerful skills and is built by getting stuck in [source]. Momentum for Rogues is built by landing hits without taking any [source]

There are big glowing environmental cues for picking up loot or replenishing health potions [source]

"Epler noted that The Veilguard will not be an open-world experience like Inquisition, and instead will have large spaces to explore with quests littered throughout. This allayed my early concerns that they would course correct too hard from the oft-maligned open areas of Inquisition" [source]

Melee and ranged attacks can be charged up [source]

It sounds like there is an option to have greater guidance on when enemies are attacking [source]

The community council gave a lot of notes on the game's art direction to BioWare (gave feedback to the devs) that they were told and shown were changed from the first reveal/character trailer, these made it into the gameplay trailer [source]

The community council asked about having an arachnophobia mode, though they can't guarantee this was implemented [source]

"You’re encouraged to explore and grind for stronger weapons and gear, so your stats and cosmetics improve the further you get into the game" (in the sense that you’ll be rewarded for hard work) [source, two]

Follower information such as cooldowns and health will be visible on the HUD [source: the Discord]

There is a "quick cast" option if you prefer not to use the wheel, should be a chorded action using a controller [source: the Discord]

On PC you can play with keyboard and mouse or controller [source: the Discord]

An accessibility option is the ability to make auto-targeting stronger or weaker depending on your preference [source: the Discord]

The game will have DLSS support at launch [source: the Discord]

Re: hard drives, the game can be played using an HDD, they would recommend an SSD though for the optimal experience [source: the Discord]

There are lots of different interface options you can play with, e.g. combat text size, opacity, when to display health bars [source: the Discord]

Other

The leak from last year or whenever it was (the one that leaked screenshots and a gif from the game) was mainly a lot of outdated stuff and didn't really represent even the early version some community council members had played [source, two]. It was not leaked by a member of the community council, but by a member of another focus group [source]

The community council were given the chance to play the game twice, once in Fall 2022 and a year later in 2023 [source]

There is no information as yet regarding when pre-orders will be open [source: the Discord]

BioWare are hoping to at the very least have the very "best of" the Discord dev Q&A featured on social media and potentially in a blog [source: the Discord]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[reflections-in-a-critical-eye]

Are You Sure?! - Episode 1 Observations

Who said it during the Bon Vogaye S3 interviews? "We click". Was it Jimin or Jungkook? Either way, it's clearly mutual and and we've heard iterations of that throughout the years in other contexts, particularly in terms of work ethic.

The first night they spent in Connecticut at that cabin in the woods showed us a different facet, in a more domestic realm. The delegation of each role during cooking pointing out what the other one likes, knowing exactly how to prepare something based on a word. It was like a well-oiled machine that has been functioning for ages. It also gave us a taste of what was to come the next evening when Jungkook cooked pasta, an entire scene worthy to dissect.

But what stood out to me more was what happened next. I know we've all joked and talked about poor Jimin and his stomach bug. A very unexpected topic, but here we are. The level of candidness might have felt surprising (at least for me initially), but they are also guys and perhaps coming from a place socially and culturally in which it's not unusual.

But it did contribute to that element of authenticity I mentioned in my first post about the series. I want to digress a bit here because the entire situation reminded me of a conversation I had perhaps more than a decade ago. I was talking to an acquitance about elements that are usually kept out of films, part of the mundane. What is left out of the story due to its lack of relevancy. And he said that scenes of people urinating are common in films, but we don't see/hear people taking a shit, or even talking about it. Yes, the language was that crude. (And no, Salo doesn't count). Shortly after, Godard's Adieu au langage was released and if my memory serves right, it had that exact scene that my acquitance was talking about. I don't think it was a matter of authenticity, the film was a lot more complex than that in its experimentation, but it did go as far as to show somehow the hidden parts of human behavior on screen, now suddenly at a forefront.

What's the purpose of that in a travel show? What does it say about the choice to show it and about the people? In variety content including surviror type, travel or even food show, issues connected to the body are not something foreign or unusual. But in AYS, it's about the length and how it became a way to show the care a person has for the other and consequently becoming another example of that authenticity.

Both Jungkook and Jimin kept a light tone over Jimin's progressive state of sickness, but in no circumstances has Jungkook ever treated it like he needs to keep his distance. The man was sitting in bed, telling Jimin it's alright, while he was fighting for his life in the bathroom.

Despite keeping a light tone, in Jungkook's case it's often about his actions. His own way of showing that he cares more than what appears to. He might laugh and joke that Jimin is dying, all the while being the one to give him the medicine. He keeps on making jokes as he goes outside, only to immediately decide to build a stone temple so Jimin can get better.

I found it all very moving. I know it might also seem trivial, but I choose to see some gestures for what they appear to be a sign of: complete comfortability, with no uneasyness or shame or lack of aknowledgement. It's a result of seeing that person going through everything and knowing that person intimately, at whatever level any of us choose to interpret it.

To be continued...

[raviollies]

actually no im gonna yap

im trying SO HARD to gaslight myself into liking veilguard but so many narrative choices just make me scratch my head. I AM NOT DONE, I currently gotta go to Weisshaupt.

I'll start with things I like so far:

1. I think the game is really pretty and I like the puzzles :) Antiva is GORGEOUS, I think one of the prettiest areas in the entire series.

2. I really like the Minrathous/Treviso choice. More of that please! some actual drama and consequence!

3. Assan is adorable and I cannot walk past without petting him. I didn't anticipate myself liking Davrin so much since I'm usually drawn to magic babies over warriors, but he's probably my favourite alongside Bellara. I think him having left his clan is very interesting narrative choice (I am totally not biased considering it's very similar to Daee's story)

4. Thank you lord almighty for the wardrobe/mirror system. Godbless.

5. Everytime Lucanis speaks I think of Puss in Boots and that brings me great joy. Whimsy even.

6. When you place Tevinter decor in the lighthouse, they have a Hookah right beside a fresco of Solas killing Mythal and that is mind bogglingly hilarious. I do love that the Shadow dragons know how to unwind. We're turning up after fighting for elf rights.

7. Solas surviving entirely on meat, raisins and honey feels very r/malelivingspace

Things I am Not Liking So Far

1.Minrathous feels utterly toothless. Its described as terrible, den of slavery, conversion therapy through blood magic, treatment of elves being terrible - yet we walk around unimpeded. I expected a similar experience as the Winter Palace, or fights that could be avoided if playing as a human.

LAVELLAN is introduced in the TEVINTER TAVERN, wearing TEVINTER CLOTHING, like it doesn't...make much sense to me? Inquisition set up the cross roads with Morrigan AND the Inquisitior, it feels like it would have made much more sense narratively not just from..."I am the fucking Inquisitor In Fucking Minrathous" but "Solas and the crossroads are a vital connecting point of these characters story."

Speaking of Inquisitor, wildly bizarre to me that neither Solas nor Varric comment on you meeting them. Solas has a weird painting of the Inquisitor chair, but you meet the mf face to face and he just does't acknowledge it. I am not a Solavellan player but I felt Really Bad For Them In That Moment.

I think a good moment of comparison is the difference in tone of DAI and DATV...When we find out the orb is elven in DAI, Solas warns us to keep it to ourselves, with Lavellan even remaking that the world will blame us for Corypheus. In DATV, we inform everyone that Elven gods are attacking, and there's no thought or conversation about the impacts of that on Elves in society. The only one to mention it is Davrin way after we've been spilling the beans left and right.

2. I'm not done the story but hey has anyone mentioned we haven't fought a single Fen'Harel agent, what's up with that... I expected to be fighting Elves based on the epilogue in Tresspasser but ?? ???

3. I'm sorry I HATE THEM DISREGARDING THE WELL OF SORROWS IN FAVOUR OF MORRIGAN WHEN SOLAS MAKES A HUGE DEAL OF YOU BEING TIED TO MYTHAL IF YOU DRANK FROM THE WELL. Oh sorry, if it was unimportant then why the fuck did you go on a monologue about how you're "her creature" and connected to her. It felt like a retcon of the importance placed on it in Inquisition and how much of a deal both Solas AND Morrigan make about it. I'm sorry picking a ROMANCE was more important than acknowledging THIS?? ? ??

"But Ravie, they can't account for Inquisitors personality and making them important would piss people off" then just kill them off. If they're set on Morrigan carrying this piece of narrative, I would have written the Inquisitor off the table before the choice becomes relevant. Have them help you in the ritual at the start of the game and die. I feel similarly about Varric, because he feels like the writers stuffed him in the closet to not talk which just...JUST KILL HIM. Its better than being relegated to furniture!!!!

3. Speaking of Morrigan why the hell is so nice. This is not my beautiful mean witch wife. In fact everyone is nice. Even hardened Lucanis has been polite to me.

4. I HAVE A BONE TO PICK WITH ROOK. I profoundly hate starting off friends with Varric (and him getting shelved like what was the point). It ruins a lot of initial RP for character establishment, because it limits how the player character FEELs about the whole thing, your motivations are GIVEN to you. Furthermore, it feels like rook HAS an established character. I don't feel like I got to play my rook, just say things slightly differently based on an already established character. I dont feel like I am roleplaying a custom character, just as Biowares stand in protagonist. Maybe I'm just spoiled by the level of interaction that BG3 provided me.

The opening sequence is bizarre to me, because IF I MAKING THE STORY....I would have had the introductory quests for each of the companions be the first quest based on the faction you select (Shadow dragons with Neve, Mournwatch with Emmerich, Crows with Lucanis etc. etc.) That way you establish your character based on the faction and immediately get a little tutorial on what kind of character you're going to be playing. I would even keep the introductory quests the same with minor dialogue tweaks. The ritual would come after the tutorial prologue mission and then you start with Harding and the companion you got introduced with, since the order you get them...really doesn't matter or impact anything.

5. I think the Venatori and Antaam following Elven Mage Gods is kinda dumb. Sorry. I thought they both looked down on them for being either Elves or Mages/didn't even acknowledge them. What the hell is their goal anyway

My criticisms comes down to...I don't know what themes the game is trying to tackle? The game SAYS things but doesn't actually do anything with these topics. Minrathous HAS a slavery problem but we don't see it. Treviso is ruled by a faction of assassins but it's like a good thing! Elven gods are responsible for everything wrong in the world, but the narrative implications of what that means for modern elves are acknowledged in passing like acknowledging the weather. The game feels hesitant to actually unpack any of these things despite being the one to put them on the table.

Anyway I am going to finish the game and probably play on Daee with a Solavellan Inquisitor to see if that improves my experience by picking a character who is more tailored to the Rook they portray/not having an emotional connection to the Inky, but atm...Man I Had Hopes. Made me feel stupid for getting so hyped up for a conclusion to a story arc for a character THEY SPECIFICALLY LEFT ON A CLIFFHANGER FOR A DECADE. I'll just draw art, lie face down in the ground and imagine a more narratively satisfying conclusion to my Inquisitors story.

[hailuchiha]

My Sister's Keeper - Prequel

DEAD DOVE: DO NOT EAT

!! MINORS DNI !!

!! 18 + NSFW CONTENT!!

!! ALL characters involved are ADULTS ; NO minor characters!!

Summary: As the title suggests, this is the prequel to My Sister's Keeper nobody asked for :)

incest; sibling incest; noncon; rape; loss of virginity; blood mention; cherry popping; possessiveness; morally gray characters; abuse; manipulation; control

(2.3 k words)

Enough was enough, Itachi had decided.

Enough of his oblivious sister sauntering around carelessly and striving to prove she was good enough by trying to get chores done on her own while nasty men leered and ogled at her.

While she was still afraid of him, the demise of their family at his hands not something she could ever forget no matter how much time passed, Itachi figured she didn't fear him enough.

Not enough to stick beside him at all times; not enough to fear the consequences of trying to think and want beyond what he wanted her to.

It did pain him to treat her that way, to have his beloved sister fear him, but at the same time, it was a necessary evil. He could not blow his cover- not after everything he'd done.

So, he figured, he had to use the last resort.

Anything in order to keep her safe, he rationalized once the plan had solidified in his mind.

As soon as they reached the next little town on their route, Itachi dragged her to the dingy inn and booked them a room.

"Uh... we could've secured a place to stay after restocking our supplies," she said, giving him a cautious look as he exchanged cash for the key to their room.

In fact, that's what they usually did when they stopped at a town. They'd restock, get patched up if needed, get a proper meal, and then hunt down the local inn.

However, Itachi had a much more pressing concern this time.

"We'll have enough time for that later," he said, keeping his tone neutral and heading up the stairs, ignoring the inn-keeper's calls of asking him for assistance with anything if needed.

With a quiet sigh, she let it go, as he knew she would. He didn't need to turn around to know she was close behind him. The one good thing about this town's inn was that it had three storys, which meant it must have seen good days at the start.

The history of the building didn't matter to Itachi though. All he cared about was relevant privacy; which is what the added floor would provide. The inn-keeper had assured him that the third floor was empty and that it rarely needed to be used. In fact, even when they were busiest, only two floors got fully booked.

As soon as they got to their room, Itachi locked the door behind them and tossed the key onto the low table next to the single bed. For the price he'd paid, the room was clearly not taken care of. It wasn’t the space he paid for as much as he did privacy.

His sister had barely put her bag down when he gripped her upper arm and dragged her towards the bed towards the back of the room.

She made a small, startled sound at the sudden shift, not having the time to even ask what he was doing or why before she was pushed onto the mattress. A faint cloud of dust rose from the sheets as she collapsed, making her dissolve into coughs.

If the lack of fresh sheets and recent cleaning bothered Itachi, he ignored it for now. He had a mission, after all.

Using her distraction to his advantage, Itachi ripped the loose pants off of her along with the white panties.

That startled her out of her confusion and she immediately tried to sit up, her hands flying to her pull her long shirt over her crotch.

"Wait, wait! What are you doing?"

But Itachi was having none of it. He was working hard to be deaf to her right now.

"You've had enough fun, little sister," was all he said by way of explanation before prying her legs open.

"What fun?!" she was almost screeching now, incredulous, as her hands pushing at his chest, nails digging into his shirt to find purchase.

With one hand pinning her down by the shoulder, he used his other one to quickly free his cock from his breeches, giving it a few pumps and lining it to her plush cunt. Her shirt had ridden up in the struggle as he pinned her.

"Wait, just wait! You're my brother!" she was still trying to reason, the panic evident from the shrillness of her voice.

Itachi paused, as if considering, and pulled away slightly. Her body relaxed minutely, sure thinking he was seeing sense.

However, his sister would have to be disappointed.

She was laying across the bed, her lower half dangling off the side. Itachi stood between her legs, staring down at where his cock had just been pressed up against her cunt.

With a sigh, he stepped closer, his body forcing her legs open again where she'd been trying to close them. He bent down slightly, face hovering over her cunt and spit right into the little slit where her pussy had parted due to the way her legs were spread. He spit once more, watching keenly as the thick glob made her sweet walls twitch and glisten.

Satisfied that there would be some lubrication, he got back into position, pressing his thick, mushroomed head against her pussy.

His sister was getting more frantic now, trying to kick at him and sit up, yelling words he had tuned out already. He wrestled her halfheartedly, not wanting to hurt her, till her foot caught him in the jaw.

Instantly, she froze, her eyes widening in horror. They both knew she was simply trying to get him to stop and hadn't meant to strike him.

Under normal circumstances, Itachi would have let it pass easily, perhaps even laughed and complimented her good kick. However, these circumstances were anything but normal. And Itachi had a mission to complete.

Not wanting any more distractions or delays, and he knew she would renew her struggles, Itachi decided to put an end to it.

He raised one leg onto the bed, using it to keep her pinned down by placing his foot securely on her chest, just below her neck. After all, he'd need both his hands to prevent her from flailing and kicking about.

A mix of horror and indignation painted over her lovely face, and despite himself, Itachi felt his cock twitch, very much liking the expression on her.

Quickly, he parted her thighs, pulling her feet wide apart and disabling any chances of her being able to kick out. From being bent in this position, her body folded in half, her pussy lips spread wider, the earlier slit gaping wider. He could see the wetness glistening inside as her cunt throbbed, and Itachi felt a smirk pull at his lips. It wasn't just his spit glistening in there. The little minx was actually liking this while pretending not to want it.

"Look at that," he muttered, his voice a low hum.

Not waiting for a reaction, nor hearing her response or pleas, he shifted, bending his hips to get a better angle to line up, and pushed, groaning as his head brushed her pussy before sliding in. It caught almost immediately, not even halfway in, and Itachi sucked in a breath.

Freeing one hand, he used it to spread her lips wide, holding them open as he pulled back slightly to push back in. This time, there was slightly less resistance and his fat head pushed in, making her tight walls spasm around it, wanting to suck it in and push it out at the same time.

"Easy," he breathed out, watching the strained expression on her face as she clutched at his leg, nails digging into his shin, his leg falling and rising along with the movement of her frantic, trembling breaths.

He pushed in further, slowly moving his hips down, before pulling back till just his head remained seated in her. Ignoring the pinched expression on her sweet face, he thrust a few more times, using a bit more force each time, knowing he had to get her through this pain now so she'd never feel it again.

Her walls were so tight around him, gripping him almost vicelike, not granting permission to enter or leave. Each thrust was almost unbearably painful. Adjusting his hips, he aimed again, knowing this time he'd breech her, he thrust in sharply, groaning at the intense tightness before his cock finally breeched her properly.

Her eyes shot open and mouth dropped in a soundless scream at the invasion, probably having sharply felt the pop as she was speared.

Itachi continued to push in till his hips were flush with hers and paused, taking a moment to breathe. His chest rose and fell sharply while her body trembled and shook under him.

After a few long moments, he eased his foot on her chest, not taking it off yet, but removing some weight so she could breathe easier, shifting the weight onto his other foot which was still on the carpeted floor.

He knew her vision was blurry and she couldn't see him clearly right now, with the fat tears burning in her doe eyes.

"Just wait some more, sweet sister," he stated, keeping his voice steady. "The worst of it is over."

He pulled out half way before slowly pushing back in, watching her face carefully. The movement became easier, this thrusts meeting less friction, and he wondered if her body was relaxing because she'd given up. But after a few shallow thrusts, Itachi caught sight of the streaks of blood coating his thick cock along with the clear sheen of her juices as he was pulling out.

Fuck, he thought. He'd known she was a virgin- that's why he had to do this, after all. But seeing her actually bleed made something burn in his chest.

His thrusts became just a tad more intense, almost like he couldn't help it, and he frantically pushed her loose shirt as high as it would go on her body, wanting to see and feel more of her.

It relieved him to note that her pained expression was quickly being replaced by confused, begrudging pleasure. She was trying to fight the pleasant sensations, but her body was winning the fight, throbbing with pleasure and need around his fat cock.

Wanting to make this awful first time as good as he could for his dear sister, Itachi hooked her legs over his wide shoulders, holding them in place with one hand while he used the other to tease and rub her clit, which caused little shivers to run down her body as her cunt fluttered around his cock. Her eyes screwed shut tightly and her hand pressed firmly against her mouth as overwhelmed tears streaked her face, her other hand clawing needily at his leg.

The mere sight nearly made Itachi come undone, his hips stuttering in their movements, making them both groan as his cock shoved deeper on the next thrust.

Biting his bottom lip, Itachi kept flicking her sweet nub and angling his thrusts so he was burying till that deep spot which made her toes curl each time, bringing her closer.

"Almost there, baby," he breathed, not paying attention to what he was saying.

Her walls gripped him tight, and her hole which was stretched deliciously around his thick length, pulsed rapidly around it. Itachi thrust in, his hips flush with hers, burying himself to the hilt, and stayed there as her needy cunt throbbed around him, trying to swallow him, her hips arching off the mattress as her eyes rolled back.

His own release was not far off, and her abused walls eagerly milked his orgasm out of him, pulsing furiously as he painted them with thick ropes of his seed.

He hovered over her prone form, unable to move, as he caught his breath, watching her chest heave with laboured breaths even as her eyes struggled to stay open.

Unable to hold back, Itachi leaned in, lazily capturing her parted lips in a kiss, reveling in the taste of her mouth even more when she hesitantly returned the kiss.

Itachi pulled away when she made a sound of discomfort, removing his foot off of her and rubbing soothing circles over her chest apologetically.

He pulled out of her, eyes drawn to her abused, gaping hole, which twitched a few times around the emptiness, looking for his cock. Unable to take his eyes off of the sight, he swallowed with some difficulty as a moment later, a pink mix of blood and their cum dribbled out, adding to the earlier stain of her blood on the sheets.

Wordlessly, he carried her into the small attached bathroom, helping her get cleaned. Only later, when she was steady, did he leave her to put a fresh set of clothes on, while he yanked the dusty, stained bedsheet off of the dingy mattress, depositing it in the laundry basket in the corner of the room. That was a mess he’d take care of later.

While making sure to dust the mattress properly so they could at least sleep somewhat comfortably, Itachi caught sight of the bright red stains in the spot where his sister had been near the edge of the mattress, and the sight made him wince. He thought all evidence had been on the bedsheet, but apparently, some had seeped underneath as well.

He turned around to let her know the bed was ready for sleeping in when he saw her staring blankly at the red stains, her hand idly clutching the neck of her sleeping gown.

"I've dusted the bed... Spread my cloak under yourself and just... lay away from that spot."

"Okay," her voice was barely a whisper as she moved past him, not meeting his eyes and pulled his Akatsuki cloak out of his pack which lay near the room’s door.

She spread it on one side of the bed, unfortunately the one where she'd been fucked on, the small stain just a few safe inches away from her legs, wrapped the cloak around herself and lay down, facing away from him.

With a lump in his throat, Itachi turned away, retreating into the bathroom.

Please ignore any typos or errors! Will fix any mistakes as I find them later :,)

Part 1

[physalian]

Bringing Characters Back from the Dead Without Pissing Off Your Audience

I don’t know if there’s an emotional rollercoaster out there quite shaped like an audience bawling their eyes out over the death of a beloved character and the livid and bitter turnaround that comes when that character comes back to life in the most ridiculous and lore-breaking way possible.

So, TLDR, some suggestions, not rules, depending on your genre and tone armor and not all for a single story, cherry pick as you please. If this is a kids show or a comedy where “death” is a nebulous concept anyway, ignore this. This is more for dramas.

The point of a good character death and revivial boils down to this, imo: Does doing so serve the character, the story, and the themes? Killing a character should be as big of a moment as un-killing a character, as long of a road as it took to get there should be as long or longer as it takes to get out. Otherwise, you just did it for shock value and everyone noticed.

DO:

Establish that revival is even on the table at some point well before this character dies. The smaller the gap between “hey death is optional” and “oh look, it’s the fan favorite in peril”, the less likely your audience is going to feel all the intended gut-wrenching emotions.

Have the dying character completely unaware that this might not be a one-way trip, even if the audience does. The entire cast might not have any clue, but the audience knows because Character Who Knew Too Much revealed it before they died. There is a time and a place for “I’m going on a suicide mission but I secretly have a contingency plan to cheat death” and it’s very hard to do it well.

Demand some cost, either from the dead character or the person/thing/deity that saved them. It should not come without consequence. Either they’re permanently emotionally scarred, physically scarred, are only back for a limited time, or somebody else died to take their place, etc. If revival has no cost, then death has no meaning.

USE IT SPARINGLY GODDAMN

Let the character be as shocked and horrified that they’re not dead anymore as the audience is ugly crying at their return. If the narrative shrugs it off, it’s going to feel cheap.

Let the characters doing the reviving be unsure if it'll even work. If both the characters and the narrative believe bringing them back is a foregone conclusion, you lose out on a lot of tension on if it's all for moot.

DON’T:

Keep killing and reviving the same characters with the same sad music and the same funerals and day-drinking and expect the audience to really believe it’s for realsies this time, CW.

Keep pretending to kill off characters but they’re actually fine

Pull it out of nowhere and try to bend the plot in post as if this is actually a good thing and not manipulative writing

Controversial but: warn the entire audience ahead of time, for many, many books, that somebody’s gonna die and it’s gonna hurt, and then say “nah just kidding” at the end.

Revive them too quickly. Death is a powerful, dramatic event for the dead character and all those who survive them. Unless it’s like a drowning situation where the character takes a few more seconds to gasp awake, let the story stew in the aftermath properly, otherwise—why kill them in the first place?

Some examples:

Gandalf—This one’s a funny one because it doesn’t establish that death is optional. Gandalf “dies” and then Boromir dies maybe 45 minutes apart. Thing is, though, that Gandalf is a 3000 year old wizard and Boromir is just a dude. Two Towers also begins by replaying Gandalf’s fall with added context so you’re already primed with “well that must be important, his character is still relevant”. The movies certainly have their share of fakeouts, but characters who are meant to die (Boromir, Theoden, Theodred, Denethor) stay dead. Gollum is just made of silly string I guess and invulnerable to high falls, unless they’re into lava. Gandalf isn't the hero, either, his job isn't to save the world, it's to make sure that everyone else saves the world. If Aragorn fell fighting the Balrog and showed up out of nowhere in Two Towers, it would cheapen the whole victory when the gods can just say "nope you're not dead, cancel, undo button" but not smite the orcs for them.

Jon Snow—oh look I’m actually praising GoT for once. He dies in season 5 and comes back at the end of episode 2 of season 6 after a whole campaign of seemingly futile magic and the heroes giving up hope. This series is full of graphic and pointless deaths. The hero getting stabbed seven times in the chest in a mutiny isn’t out of left field at all. But back in season… 2, I think? The Hound comes across a dude who can’t be killed, who attributes that to this Lord of Light deity. The same deity that Melisandre (the witch who brings back Jon) also worships. It’s proper set-up, proper time spent mourning him with a whole break between seasons, proper build up with the impact of his death, and proper consequences once he’s back, dude isn’t the same and I will always miss his fluffier hair.

Leo Valdez—I have no idea if I’m in the minority here but back when Heroes of Olympus was being published, the fandom had five whole years to argue over which of the seven heroes was going to die. It was all over the walls. Yes, this is a series about mythological creatures with gods and gods of the dead and even Death being captured to stop people from dying. “Character cheating death” didn’t come out of nowhere. However. Even though it was properly established, the series spent five whole books promising that somebody was gonna die, and then Leo comes back because the Prophecy didn’t read the fine print. I liked Leo, but I cannot stand chickening out of killing a character and this was one hell of a deus ex machina when the whole last book was a misfire.

The Whole Vampire Diaries and Supernatural—everybody knows the CW is allergic to perma-deaths. There’s infographics out there calculating how many times Sam and Dean and Cas have died. I know more about the background to TVD so herein lies the issue: The creator was allergic to change of any kind and apparently the actors didn’t have the best relationship with her because of it and other reasons. Her characters fell in the same cyclical arcs because who they were in seasons 1 and 2 is everyone’s favorite iterations of their personalities, so they can never have proper arcs with real growth. TVD was a serialized show written like it was episodic, so nothing, not even death, was permanent save for a few characters here and there. Death lost all meaning, the writing was manipulative constantly expecting audiences to believe it this time, and the lore kept breaking each time they did it with new excuses to bring somebody back.

*Gaara—I don't actually remember it super well and his death pissed me off more than his revival but I want to add it anyway. How they brought him back, with Granny Chiyo sacrificing herself for him and him being utterly shocked that anyone gave a shit to bother rescuing him was great, no notes. Even better because I belive Chiyo was like "it's alright I can fix him" and everyboy but Naruto realized that doing so would cost her her life. I just hated how they showed you Gaara dying ~20 episodes before anyone got there to save him, meanwhile the heroes were dicking around fighting their shadow-selves instead of just... running away? They didn't know he was already dead. The lack of urgency for all parties involved, in a show that's legendary for its shit pacing, promptly ruined any chances of me watching it past that arc. But, the revival was well done, so. Have a Gaara.

—

And then you’ve got way on the far end of ass-pulls, characters like Palpatine, heroes in soap operas, or shows in their 11th season that have already checked out or know it’s dumb and don’t care how dumb. It’s the nature of the beast. It’s hard to get mad at them for the single sin of undoing death when they probably already have a hundred other problems.

[indie-ttrpg-of-the-week]

I'm actually not super into vampires which is wht I outsourced this write-up, so shoutouts to my wonderful partner for doing it for me :)

Genre: Post apocalypse fantasy

What is this game?:

Bloodbeam Badlands is a unique rules-lite TTRPG that seeks to tell heroic stories about magical badass sharpshooting vampires and wild desperate adventures in an over the top strange and deadly post apocalyptic wasteland that shines a new light on mythical fantasy by combining magical creatures from folklore and pop culture with the tropes of post-apocalyptic survival.

How's the gameplay?:

The gameplay is loose, basic and imposed checks are rolled during times of drama and conflict to decide outcomes, which means mechanics are usually most relevant in fights. You roll a number of d6 equal to one of your 3 stats (Guts, Guile, and Guise) and compare the lowest die result to one of your 3 sources, which are similar to stats (Blood, Bullets, and Burn), if the result is lower, you succeed.

This simple conflict resolution method is made more engaging with a few inclusions: first of all, your sources are fluctuating, you can lower or “spend” a source to automatically succeed on a roll, the sources can also be lowered as a consequence of failure, and act as a gauge for your survival. If a source goes to 0, you’ll start to face death or mutation. Sources can also be restored by a variety of unique means, such as feeding on blood or bartering for bullets. Each character also has their own unique “Vampiric Bloodline” chosen at character creation that has their own way to spend and regain sources and a set of striking supernatural powers, such as being able to manipulate the demiplane of shadows or being a vessel for phantoms.

Players also further customise their vampires with a unique, personalised gun with a set of magic ammo, like a shotgun with homing shells or a sniper rifle that injects werewolf blood into your enemies. Additionally, while exploring the wasteland, you can pick up items with unique narrative and mechanical tags and usually some sort of magic, some are even strong enough to have their own stats and sources.

What's the setting (If any) like?:

I am so biased, I am going to be honest here, I ABSOLUTELY LOVE THIS SETTING and am very excited to talk about it. The Forever Dawn is a vast, twisted post-apocalyptic wasteland with no end in sight, it gets its name from the blinding, burning, behemoth red sun that hangs omnipresently. The day never leaves and the night never comes. If the sun doesn’t burn you alive, the radiation will start to mutate and consume you. The players are vampires whose blood has been diluted and irradiated enough to leave the underground and search for blood on the outside.

The radiation and consequences of supernatural forces being mutated has left everything in The Forever Dawn, from the land to the people to the monsters, bizarre and twisted. Even the most common mortals of The Forever Dawn have strange mutations and unique features. The setting isn’t bound to just a burning desert, the book encourages GMs to set your campaigns in different environments warped by the apocalypse.

The setting does not have many established locations, the wasteland is too mysterious to be catalogued as such, and the lore usually comes in the form of sparse, unexplained plot hooks to give ideas to GMs or writers to build upon. Yet despite being largely vague and interpretive, the book still oozes with style and direction for the worldbuilding and goes in depth about not only what's in the world but about how the world feels.

What's the tone?:

Like I previously stated, the way the tone is communicated in this book is extremely effective, and lots of love was clearly put in. I feel like nearly every single piece of the text helps establish the tone, mechanical things like the stats being divided into snappy metrics of Guts, Guile, and Guise make you feel like you’re creating cunning and cool heroes, the examples of mechanics describe action packed scenes against mutant dinosaurs, and on the topic of mutant dinosaurs, my favourite example of the type of over the top style this game has is "Revolverface," a mutant t. rex with a flaming revolver cannon for a face. Which is just shamelessly cool and over the top enough to perfectly describe what you’re getting into.

But enough praising the writing, to actually describe the tone in my own words, Bloodbeam Badlands is wacky and over the top, balancing the fun of flashy action with the grimness of surviving in a world designed to waste you away.

Session length:

I’d say about 2 hours give or take, unless you're running full episodes in one session, then maybe 4 or so.

Number of Players:

The book lists around 2+ players and a GM, although it's worth considering there’s only 4 bloodlines in the base book

Malleability:

The rules are extremely malleable, the looseness gives opportunity to add and change mechanics as the GM sees fit, and the idea of sources can be changed or taken in a lot of different ways. It was designed with homebrew content in mind and has spawned a lot of cool third party and bonus content. Even if you stick by the source book you’re encouraged as a GM to create unique magic items and NPCs.

Resources:

As far as I’m aware I do not believe there is a sheet made for this game yet, likely a byproduct of early access.

Bloodbeam Badlands B-Side is a collection of new and third party content curated by the developer, licensing and logo information is also included.

Bloodbeams is a game with a great setting and a good game wrapped around it, it's definitely something worth checking out even if the gameplay isn't your thing, because the setting is just that interesting. It's a fun time for all you vampire enjoyers

[lilmisshellfireswritingblog]

Good Luck Babe Chapter 2: Coffee

Pairings: rockstar!Eddie Munson x popstar!reader

Warning: 18+, start of the fake dating plot (PR), angst, regret, consequences of fame

Song Inspiration: Coffee by Chappell Roan

You were sitting across from your agent, Kate, in her sleek, minimalist office. The soft glow of the afternoon sun filtered through the tall windows, casting a calm light across the room. But you didn’t feel calm. You hadn’t felt calm for days now, not since your performance, not since The Prophecy had gone live and the world had caught a glimpse of the emotions you had been hiding for so long.

The room was quiet for a moment as Kate flicked through a few documents on her tablet, her usual efficiency giving way to something that looked a little more...calculating. Her eyes met yours, and you knew what was coming.

"So," Kate began, her voice casual, but there was a tension to it that you couldn’t ignore. "The performance went well. The song definitely landed. Your fanbase is loving it—especially the vulnerability. But..." She paused, and you could already tell she was choosing her words carefully. "We need to keep this momentum going. You’re in the spotlight now, and the buzz is strong. Your debut album is just around the corner, but if we want to keep the buzz going, we need to get creative."

You sat back in your chair, trying to suppress the tightness that had formed in your chest. You had been dreading this conversation. You had a sense of where this was going, but you didn’t want to hear it.

"Creative?" you asked, trying to sound nonchalant, but even you could hear the underlying tension in your voice. “Why don’t we book another late show? I want to perform "Things I WIsh You Said" live before the album drops.”

Kate tilted her head slightly, her lips curving into a knowing smile. "A PR relationship. You know, something to keep your name out there, keep people talking. It’s not exactly unheard of, especially for artists on the rise. It’s a classic strategy. And who knows, it could inspire some…more not breakup songs."

You stared at her, disbelief creeping in. "Wait, you’re suggesting I...fake a relationship with someone?"

Kate leaned forward slightly, her tone more persuasive now. "Not fake. A strategic partnership. Someone who’s in the public eye. Someone with the kind of profile that’ll generate interest in you. Like another artist or an actor. It’ll keep the press and fans engaged and it'll position you in the right light as you release your album."

You ran a hand through your hair, your thoughts spinning so fast you felt dizzy. "I don’t know, Kate. That doesn’t seem... like me. I’m not that kind of person. I’m not—" You almost wanted to say “desperate,” but that didn’t feel right. Still, the thought of being in some contrived relationship just to get people talking made you uncomfortable.

Kate raised an eyebrow. "Look, you’re not going to be the first artist to do this and you won’t be the last. It’s about keeping the conversation going. Right now, there’s a gap between what you’ve just released and the album. This could bridge that gap. Keep you relevant, make sure people know you’re still here, still important. And with The Prophecy blowing up, you’ve got an audience that’s ready to hear your story. The public will eat it up."

She paused, her eyes softening just slightly as she leaned in. "I know you’re not keen on the idea, but we don’t have a lot of time. You want your debut album to be a success, right? This could make a huge difference."

You exhaled slowly, biting your lip. You hated the idea. You hated the thought of using something as personal as your relationships—your heart—just to generate attention. But at the same time, a small part of you knew Kate was right. You needed to keep your name out there. You needed the exposure. Your fans deserved that, didn’t they?

"Who do you have in mind?" you finally asked, voice quiet. You already knew the answer. You just didn’t want to hear it.

Kate smiled like she’d been waiting for you to ask. "There’s a few possibilities. Someone well known. Someone with a similar profile. I’ve been thinking of a few people…”

You barely heard her as your mind raced. Your thoughts weren’t on who you could be with for this. They were who you’d just spent an entire week trying to stop thinking about. Eddie.

God. This isn't how you imagined getting nto the spotlight. You didn’t want it to be this way.

"Let me think about it," you said, your voice softer than you intended. "I’ll let you know."

Kate’s smile was tight but understanding. "I have to let someone know in 24 hours. Teams are inpatient and we don’t want to lose these opportunities, my little rising star. I can imagine the headlines now: He Changed the Prophecy.”

“Yeah, okay.” You left her office in a daze. The weight of the conversation hung over you like a storm cloud. You’d have to think about it—whether it was something you wanted or something you could stomach. But the entire idea made you sick to your stomach.

Because it would hurt Eddie. 

You knew it would.

The doorbell of the small coffee shop rang as you pushed open the door, the warm scent of espresso and cinnamon filling your senses. You made your way to the counter, ordering a cappuccino and a scone, trying to clear your mind, trying to get some peace before you had to make any decisions.

You found an empty seat near the window, one that overlooked the busy street, and sat down, lost in your thoughts. Your pager buzzed in your pocket, but you ignored it, staring at your hands, tapping your fingers against the tabletop.

And then you heard a voice that nearly made your heart stop.

"Mind if I join you?"

You froze. Slowly, you looked up to see him standing there, wearing a faded black leather jacket and that familiar wild hair. Eddie. It felt like a dream, like you had conjured him into existence. But no. He was really here. In front of you.

He looked the same as the day he left - the day you insisted he left. 

"Uh... yeah," you stammered, your heart skipping as you gestured to the empty seat across from you. "Sure."

You felt sick to your stomach. You wanted to run away, hail the next cab back home but your legs wouldn’t cooperate. You were like a magnet to the chair beneath you. 

Eddie sat down, looking a little hesitant, like he was testing the waters. He wasn’t quite sure what this moment was either. He still had that nervous energy about him—the same Eddie you remembered, the one who never quite knew how to act when things got complicated. But something about him had changed. Maybe the fame and endless parties had gotten to him. 

You both sat in silence for a few seconds, the tension thick in the air. It felt like a thousand unsaid things hung between you. You bit your lip, pushing away your food. 

Eddie was the first to break it. "I... I saw your performance last week."

You nodded trying to suppress the way your heart clenched at the mention of it. "Yeah," you said quietly, feeling a strange warmth spread through you at the fact that he’d actually watched.

He hesitated, his gaze softening. "You wrote it the day we broke up?”

You swallowed. "Yeah. It was. I wrote it, um, the day we broke up. Literally right after. I didn’t know what else to do."

There. You’d said it out loud. Eddie flinched, but only slightly. He seemed to process it, the weight of your words sinking in. The apology, the regret, the love—that was all there, written into that song. You could see him piecing it together, the recognition in his eyes.

"Look, I... I’ve thought about everything. About us," Eddie said, leaning forward a little. "And I know I screwed up. I should’ve fought for you. I should’ve—"

You interrupted, your voice quieter than you wanted it to be. "Eddie, you didn’t have to fight. I wasn’t ready for that. I wasn’t... I wasn’t who you needed me to be. I wasn’t what you needed back then.”

His eyes softened and his voice dropped, almost as if he was speaking to himself. "I didn’t give you enough credit. I thought leaving you like you wanted me to would make it easier... but it didn’t. And I know... I can’t fix what’s already been broken and how you felt. But I want to try. I want to fix it. I know it’s been two years and we’re in different places but your career is taking off and we’re together and I’m here in Los Angeles too not on tour… Baby…”

The words lingered in the air between you. Eddie looked at you as he rambled with such sincerity that you almost believed him. Almost.

“Eddie… It’s been two years. We can’t really just start again like nothing happened. That’s not how it works…” You nearly choked on your words, barely even able to look at Eddie. 

He leaned back, rubbing the back of his neck, as if unsure how to proceed. "Who says we can’t? Can we... I don’t know, get coffee sometime? Talk? No strings, just... I don’t know. A chance to really talk?"

Your heart thudded in your chest, the sound louder than it should’ve been. The thought of seeing him again—of opening that door back up—made something stir deep inside you, something you weren’t sure you could control. 

And you wanted him again so badly but you knew your heart would just lead you down that road of hurt again. 

"I--," you said quietly, meeting his gaze. "I don’t -- I can’t. I’m sorry. I -- I have to go."

It would hurt too much. You still loved him and you could see he still loved you.

It wouldn’t be just coffee. 

There was a long pause, but this time, it was a lot more uncomfortable. Eddie smiled as if he was hurt. He nodded his head before opening his mouth but he hesitated and by time he had the courage to say it, you were already out the door hailing a cab. 

“---I ---still love you.” 

But he was just seconds too late. 

----

The sound of the guitar strumming filled the room, but your mind wasn’t on the chords. Your fingers moved mechanically, the notes blending into the air as your thoughts circled around Eddie. That conversation at the coffee shop had left you unsettled. Eddie’s sincerity, the way he’d looked at you, the raw honesty in his words—it had stirred something inside of you that you weren’t sure how to handle.

You’d spent the next few days thinking about it, trying to get your head clear, but it wasn’t working. Every time you closed your eyes, you saw Eddie’s face. You heard his voice in your head, asking for a second chance, asking for you to meet him, to talk things through. It kept replaying in your head over and over, even as you tried to distract yourself with music.

But you knew the truth.

You couldn’t meet him. No matter how much you wanted to. Not because you didn’t want to—but because you knew, deep down, that if you saw him again, you wouldn’t be able to walk away. You wouldn’t be able to protect your heart from falling back into the same patterns, the same love that had torn you both apart before.

You were still in love with him.

You could feel it in the way your chest tightened whenever you thought about him or sang about him, the way the memory of your time together haunted you, the way your body responded to the thought of him, even now. You weren’t ready to forgive him—or yourself—for what had happened. But you still wanted him, still felt that pull, even after everything.

So you did the only thing you could think of. You buried it.

So let's not do coffee, let's not even try It's better we leave it and give it some time If I didn't love you, it would be fine 'Cause If we do coffee, it's never just coffee It's never just coffee

You finished writing the song that had been on your mind since the coffee shop encounter, pouring all the conflicting emotions into the lyrics. It was raw, personal, painful. A song about love and loss, about the kind of love that doesn’t let you go even when you know it’s destroying you. A song that was too real, too vulnerable to ever share with anyone. Not yet. 

It would go into a vault and no one would ever know of it. 

You played it through once more, letting the final note hang in the air. You sighed deeply, feeling the weight of everything pressing down on you. But then, your phone rang, breaking the stillness.

You stared at the phone for a moment before picking up the landline

"Hey," you said, trying to sound casual, even though you were anything but.

"Hey, it’s Kate" she replied, her voice bright but with a hint of business beneath it. "I’ve been thinking about our last conversation and I think I have a solution for you. I know you’re still feeling conflicted about the whole PR relationship idea, but I think I found the perfect match."

You closed your eyes, feeling your stomach turn. The thought of being in a fake relationship still felt... wrong. But at the same time, a part of you knew it was inevitable. You needed this. You needed the attention. You needed the visibility and as much as you hated the idea of using someone for that, you knew it was what would keep your name out there and your career alive.

"Okay... who’s the lucky guy?" you asked, trying to sound light-hearted, but you could already feel the weight of it settling into your bones and you couldn’t stop thinking of Eddie. 

Kate didn’t hesitate. "Billy Hargrove."

You blinked, surprised. "Billy... Hargrove?"

"Yeah, the action star. He’s hot right now and he’s got a huge fan base. Plus, he’s a bit of a wildcard—perfect for your brand right now. It’ll get people talking and it’ll create this ‘will-they-won’t-they’ narrative that’s really going to keep the media on their toes."

Billy Hargrove. You knew who he was. The action star with the brooding looks, the rumored bad-boy image, and the kind of fame that could make the tabloids spin out of control. The kind of person you never imagined being paired with. But you had to admit, he was the kind of headline-maker you needed.

You shifted uncomfortably, feeling the knot in your stomach tighten. "I don’t know, Kate. He’s not exactly my type..."

"I know, I know," Kate interrupted quickly. "But that’s the point! It’ll be unexpected. It’ll get attention. And the good kind of attention—the kind that sticks. We just need to start slow, a couple public dates, a few photos here and there. That award show you’re performing at… Which I think you should perform Wildest Dreams…. Anyway, then we ramp it up when the album’s about to drop. Think of it like... building the tension for a big reveal. You’re not dating him for real but you are getting the exposure you need."

You sat there, silent, letting the words sink in. Your mind was already working through the logistics, trying to figure out how you could pull this off without completely losing yourself. You had to keep your distance, keep your heart guarded. Billy would be a way to stay relevant, a way to keep things moving forward.

But the thought of anyone else—especially Billy—was nauseating. The only person who had ever truly felt like home to you was Eddie. You couldn't deny it.

"I just... I don’t know if I’m ready for this," you murmured, more to yourself than to Kate.

Kate’s voice softened. "I get it. But you know this is the right move. The world has moved on from you a little, and we can’t afford to let that happen. It’s just business, kid. It’s a way to stay in control."

You took a deep breath. "Alright. Fine. Set it up. I’ll do it."

Kate’s tone immediately brightened. "Great! I’ll have my people reach out to his team, and we’ll get the ball rolling. You won’t regret this, I promise. I think you guys should make your debut at MTV Video Music Awards since you’re performing and it’ll be lower stakes. Not really a date, ya know?"

“Okay, Kate. Just send me the information.” You say, bile rising up into your throat. 

As you hung up, the weight of your decision pressed down on you. The guilt began to churn in your stomach, but you couldn’t afford to second-guess yourself now. You’d already made too many emotional mistakes with Eddie and you weren’t about to make another one. You had to move forward. You had to keep going just like he had. You couldn’t let the past keep you from what you wanted—the career, the success, the life you’d worked for.

And as much as it hurt, you had to bury the part of you that still loved Eddie. The part that would always love him - the part that would always long for him.

You glanced over at the song you’d just written, still fresh in your mind, still too raw to even consider recording. Maybe someday you’d sing it. Maybe someday you’d share it. But not today. Not while you were standing on the edge of this new chapter.

Soon after, your phone rang again. You picked up the phone again, annoyed since you had just hung up and you just knew it was Kate. 

“What?” You sigh, holding the phone between your cheek and your shoulder. “I’m not changing my mind, you don’t have to call me every ten minutes to double check.” 

“Woah there, babe. That’s no way to talk to your boyfriend ain’t it? It’s Billy. My agent gave me your number.”

The moment felt surreal, but you knew you had no choice.

This was the life you had to live now.

And you couldn’t afford to look back. Not even for Eddie.

[deception-united]

It's me again. Are there proper ways of writing fight scenes that flow well? And are there ways to make fights feel realistic without feeling like it stops the story in its tracks? How do I find the middle ground between realism and injury healing times?

Thanks for asking!

Maintaining realism in fights while keeping the story flowing smoothly is crucial for engaging storytelling. Here are some tips to achieve that balance:

Integrate fights into the narrative: Make sure that the fights serve a purpose in advancing the plot or developing the characters. They should feel like a natural progression of the story rather than an interruption.

Character motivations and stakes: Ensure that the characters involved in the fight have clear motivations and stakes. This adds depth to the conflict and makes the fight feel more meaningful to the audience.

Use variety in fight scenes: Avoid repetitive fight scenes by incorporating different fighting styles, environments, and tactics. This keeps the audience engaged and prevents the story from feeling stagnant.

Show the consequences: Realistic fights have consequences, both physical and emotional. Show the aftermath of the fight and how it impacts the characters and the story moving forward.

Balance action with other elements: Don't let the fight scenes overshadow other important aspects of the story, such as character development, dialogue, and plot progression. Maintain a balance between action and quieter moments to keep the story flowing smoothly.

Keep it concise: Avoid prolonged fight scenes that drag on unnecessarily. Focus on the key moments of the fight that are most relevant to the story and characters, and move the narrative forward efficiently.

Incorporate tension and suspense: Build tension and suspense leading up to the fight to make it feel more impactful. Use pacing, foreshadowing, and strategic placement within the story to heighten anticipation.

Make it believable: Research fighting techniques and strategies to ensure that the fight scenes are realistic and grounded in reality. Avoid overly exaggerated or implausible actions that may break immersion for the audience.

Finding the middle ground between realism and narrative pacing in injury healing times and recovery can be challenging but rewarding for maintaining both credibility and story momentum. Here are some tips:

Research: Understand typical healing times for various injuries. Medical websites, journals, and consultations with healthcare professionals can provide valuable insights.

Consider context: The severity of the injury and the overall tone of your story will influence the healing time. A minor scrape will heal quickly, while a major wound would naturally take longer.

Character abilities: Take into account your character's physical condition, age, and any supernatural or futuristic elements that could affect healing. A trained fighter might recover faster than an ordinary person, while futuristic technology or magical abilities could speed up the process.

Plot demands: Sometimes, the pace of your story might require injuries to heal faster than they would realistically. In such cases, consider adjusting the healing time while maintaining some level of believability.

Show the process: Even if you need to speed up the healing process for narrative purposes, acknowledge the injury and its effects on the character. Show them experiencing pain, discomfort, or limitations even as they recover.

Use time skips wisely: If you need to compress healing times for the sake of pacing, consider using time skips or transitions to indicate the passage of time without dwelling too much on the healing process itself.

Balance drama and realism: Strive for a balance between dramatic tension and realism. Injuries can provide opportunities for character development and conflict resolution, so consider how the healing process can contribute to the narrative arc.

Persistent effects: Even if a character's injuries are on the mend, they may not fully heal before the story's conclusion. Implementing this in your writing involves ensuring that the injury continues to affect the character in some way, whether it's physical discomfort, limited mobility, or psychological trauma.

Plot hindrance: Use the not-fully-healed injury to hinder the character's progress or add tension to the plot. For example, if the character's arm was injured in a fight, they may struggle with tasks that require the use of that arm, such as wielding a weapon or climbing.

Pain and discomfort: Continue to reference the injury after the initial healing period. Describe how the character experiences pain or discomfort, particularly in situations that aggravate the injury. This could be triggered by specific movements, weather conditions, or emotional stress.

Character growth: Show how the character copes with their lingering injury. This could lead to moments of vulnerability, resilience, or resourcefulness, allowing for further character development and depth.

For more tips on writing fight scenes, see my previous post!

Hope this helped ❤

Previous | Next

[lurkingshan]

A Time Called You: A Great Reminder to Go Watch Someday or One Day 

This past weekend Netflix dropped a new kdrama called A Time Called You in its entirety, and I became particularly interested in watching it as soon as I realized what it was: the Korean remake of Someday or One Day I knew had been in the works for awhile. If you’re not familiar, Someday or One Day (SOOD) is a beloved 2019 Taiwanese drama that is widely considered to be among the best dramas the country has ever produced (there is also a 2022 film version of the story, but that’s less relevant to this post). Now, I love Korean dramas, and I know that countries remaking each other’s best shit is very common in the Asian media landscape, but I couldn’t help but feel protective of the original work and a bit resentful of the choice to adapt something that was so original and unique and specific and put that generic kdrama sheen on it. Taiwan has a small film industry, and this is one of its jewels. We didn’t need Korea’s take on it.

And having watched the adaptation in full now, I am feeling pretty justified in that initial feeling. Let me just say upfront: A Time Called You (ATCY) is a perfectly good drama with a solid cast and competent storytelling. Had I seen it absent the knowledge of what it was adapting, I probably would have liked it a lot. But I have already seen and loved Someday or One Day, so I feel compelled to break down why it is the better version of this tale, both for my fellow SOOD devotees who are wondering how this adaptation stacks up and for folks who have only seen the kdrama in the hopes that you’ll decide to watch the original. As usual, I did the most, so reader be advised that this is long (tagging @troubled-mind as promised and @smittenskitten because I saw you were looking for a comparison of the two dramas). TL; DR: if you liked ATCY, or have seen neither version and are wondering which to watch: go find Someday or One Day, because it’s an overall superior and more satisfying execution of the same story.

The Vibe

Let’s start here because it’s the most obvious and immediately striking thing as someone who has seen both versions. SOOD has a bit of a rough and unpolished feel, which makes it feel more grounded in reality (important when you are getting into fantasy elements like time travel but you still want the characters to feel like real people). We open our story in 1998 in a record shop with a young girl playing Last Dance by Wu Bai and China Blue, a 1996 mando pop rock ballad, and thus setting the tone—this will be a somewhat raw and bittersweet story about grief and hurt and longing that will invite us to wallow in our feelings. And that melancholic vibe stays throughout the drama, even in the explicitly happy scenes, because you are always aware that the joy you are seeing has already been lost. 

By contrast, ATCY feels… emotionally flat. Don’t get me wrong, it is a very faithful adaptation. The early episodes are practically a shot for shot remake of the original drama. But it’s too polished, too shiny. The filmmaking is bog standard kdrama fare; everything is soft focus and warmly lit and too beautiful and consequently nothing feels real. It feels right in line with the standard aesthetics of recent mainstream Korean dramas, and that choice undermines the emotional weight and grit of this story.

A great example of this can be seen in the way the two dramas handle the iconic scene where our female lead runs in the rain, looking back over her shoulder to smile in delight at the male lead before continuing on her way. This is a moment of realization for him about his feelings for her—one he will later immortalize in a painting that becomes part of the mystery of the past she is trying to unravel. In Someday or One Day, this scene takes place on a regular street, in the utterly mundane surroundings of their everyday lives as they walk home, and she runs down the middle of the road as puddles gather in the uneven pavement; in A Time Called Love, they are in a picturesque park for this scene, surrounded by green and encased within a grove of giant trees, and she runs right down the middle of a tree lane that looks like it came straight out of a fairytale. One story is very much about a love grounded in a reality we can recognize; the other is pure fantasy romance.

The Music 

I already mentioned the song that anchors the Taiwanese drama above. Last Dance is hugely important to the story, both thematically and as a plot device, and in its ability to set the mood and tone of the drama. 

The Korean remake similarly uses a real 1996 ballad as its main song and time travel mechanism: With My Tears by Seo Ji Won. And, uh, the vibe is a bit different. 

Discerning listeners might recognize this as one of the many classic love ballads performed by our favorite doctors by day, rock stars by night over on Hospital Playlist. It’s a perfectly fine song. But it sets quite a different tone for our story, doesn’t it? It also is meant to be a song that a teenage boy is hankering to listen to on cassette, and listen, I wasn’t living in Korea in 1996. I have no idea how culturally accurate that may be. I’m sure there were in fact baby Lee Ik Juns running around trying to get their hands on this cheesy love song. But the edgier sound of Last Dance definitely sounds more in line with something the teenage male lead would listen to and what the music is meant to convey. And frankly, since we hear this song about 30 times in the drama, it matters that Last Dance is just an objectively better song. 

And that’s just the tip of the iceberg, because beyond the classic song each version chose to use as its centerpiece, there is also a stark difference in the quality and tone of each drama’s OSTs. Here is a compilation of the Someday or One Day tracks, including the utterly gorgeous main theme by Shi Shi. The music is hugely important in the Taiwanese drama and is used to set the mood as well as emphasize its themes, and the tracks feel specific to this story.

And here is a compilation of A Time Called You OSTs.

If you’re familiar with kdrama OSTs, you will recognize most of the artists on here, as well as some new covers of old songs. And again, the vibes are quite different. Whereas SOOD was very intentional and specific in its music choices, ATCY just sounds like every other kdrama. There is nothing on this tracklist that stands out or evokes the kind of feeling that the SOOD tracks do.

The Main Couple

The name and timeline situation in this show makes this section unnecessarily difficult, so let me just make a little reference sheet here: 

Someday or One Day

Alice Ke plays Yu Xuan (2019) and Yun Ru (1998)

Greg Hsu plays Quan Sheng (2019) and Zi Wei (1998)

A Time Called You

Jeon Yeo Been plays Jun Hee (2023) and Min Yu (1998)

Ahn Hyo Seop plays Yeun Jun (2023) and Si Heon (1998)

All of the actors here are seasoned and very good at their jobs, so I am not casting shade on any of them—they are executing their performances based on writing and directorial choices. But I cannot deny that the Taiwanese version of these characters are more compelling all around. In SOOD, the main characters have a real spark; despite the melancholic undertone of the story, there are moments of genuine joy and when they connect with each other, you feel why this bond is strong enough for them to find each other through time and despite all the trauma they endure. In ATCY, however, the characterizations are muted.

This is most evident in the difference between Quan Sheng/Zi Wei and Yeon Jun/Si Heon. Greg Hsu plays Zi Wei as magnetic, playful, mischievous, utterly lovable, and very intense about his feelings for his lady. He has a real joie de vivre about him that clearly brightens up Yu Xuan’s life considerably, and his devotion to her is not just shown, but deeply felt. Experiencing their memories, you understand immediately why Yu Xuan can’t move on from his death; he was the joyful, relaxed counterpoint to her more ambitious and serious personality. Si Heon, though? He is a nice dude and a generous partner and he is very good looking. But he doesn’t have the playfulness or the intensity that his Taiwanese counterpart does. His personality is just more moderate all around. One great example of this: upon discovering that he has traveled forward into the body of the person that would become Yu Xuan/Jun Hee’s boyfriend, Zi Wei (in Quan Sheng’s body now, are you still with me?) actively decides to find her, love her, and try to solve this time loop quagmire they are in; Si Heon (in Yeon Jun’s body) waits for a moment of fate to give him a sign, and only makes the decision to pursue Jun Hee after running into her by coincidence.

Similarly, Jun Hee is not quite as spunky and sassy as Yu Xuan and Min Yu is not as dark and awkward as Yun Ru; when Jun Hee travels to the past and takes up residence in Min Yu’s body, the differences between the two characters she is playing are not as evident. In SOOD, I could tell at a glance who is in Yun Ru’s body; in ATCY I need more context to be sure. Where Yun Ru had more of an edge, Min Yu simply reads very shy. It’s not as compelling. One scene that really stands out as an example of this: when Yun Ru is pretending to be Yu Xuan in 1998 and looks in the mirror to practice smiling, it looks downright creepy and sinister; when Min Yu is masquerading as Jun Hee and looks at herself in the mirror, she just looks awed and happy, if a bit awkward. It’s subtle, but it changes the way you feel about the characters. 

The difference in Jun Hee and Yeon Jun’s characterization also affects the couple chemistry, which is just not nearly as strong in ATCY. The characters are more muted and thus the expected sparks are more like smoldering embers. The relationship feels cozy and warm and nurturing, but it doesn’t feel vital. It doesn’t feel like the kind of relationship you would fight through time or break the rules of the universe to return to. I recall gasping or crying or laughing out loud throughout SOOD because I was constantly taken aback by Greg Hsu’s arresting presence and the chemistry he and Alice Ke generated was just emotionally riveting. When Yu Xuan told Zi Wei (as Quan Sheng) that they were officially together, that man literally jumped for joy and shouted out his love for her; Si Heon (as Yeon Jun) reacts to the same moment with a quiet smile and a hug. When Zi Wei saw Yu Xuan in Yun Ru’s body again in the finale, he knew instantly that it was her and the smile overtook his face as he reached for her; Si Heon initially called Min Ju’s name before getting closer and taking several beats to realize it was Jun Hee (ruining this iconic moment is perhaps this remake’s greatest sin against romance, my god). 

Everything between the couple in SOOD was just more, both in happiness and in despair. I liked Jun Hee and Si Heon, and Ahn Hyo Seop and Jeon Yeo Been are very competent actors whose performances I have loved in other dramas, but they didn’t achieve that level of chemistry here, the writing and directing choices worked against them, and I didn’t feel that same desperation for them to figure this out that I did with Yu Xuan and Zi Wei. 

The Story 

The Korean version is a very faithful adaptation overall (I haven’t mentioned Jun Jie and In Gyuk because his character and story is more consistent across the two shows), but does make some small tweaks to the story, some of which seem to be out of necessity due to a shorter run time (one episode and a couple hours total less than the Taiwanese original) and some just… because? The shorter amount of story time does lead to them having to cut corners on some aspects of the mythology and time travel lore, making it all a bit less clear for folks who don’t already understand what’s going on, and they put in a few nods to typical kdrama tropes like amusement park dates and hand of fate stuff that we really didn’t need—they are already trapped in a time loop together, we get it!

ATCY also messed with the timelines and ages for reasons I don’t really understand and that don’t really track. In SOOD, Zi Wei traveled forward from 2002 to Quan Sheng’s body in 2010, met Yu Xuan, and then died in 2018. In ATCY, Si Heon traveled forward from 2002 only to 2007 and did not die until 2022—but the relationship dynamics are all the same. It made sense for a young couple who had been together about 7 years and who were in their mid-20s to be having the kind of relationship problems they did—fighting about prioritizing careers and time abroad and whether it was time to get married. But a couple who has been together nearly 15 years? Who are in their mid-30s? They would have already been married probably and had a couple kids to boot. The choice to change the timeline like this had me scratching my head and accomplished nothing for the story. 

But neither of those things are the change to the story that is weighing on me most. That occurs in a very small and brief backstory for the real Yeon Jun, where the drama introduces an original character who has no counterpart in SOOD: Tae Ha. 

In SOOD, the real Quan Sheng is a closeted gay teenager who meets a tragic end: he confesses to his crush, gets brutally rejected, then gets bullied when the crush tells others about his sexuality, and ultimately decides to walk into the sea in an attempt to end his life, a choice that leaves his body in a coma until Zi Wei’s consciousness takes it over. In ATCY, this backstory changes and Rowoon is brought in for a brief but impactful cameo as Tae Ha, Yeon Jun’s cram school friend. We see that the two have mutual feelings for each other but are both struggling to confess. One day as they are driving together, they finally explicitly acknowledge their feelings, holding hands and smiling at one another—and then immediately get hit by a Truck of Doom (easily one of the most tired kdrama tropes), Tae Ha dying on impact and Yeon Jun ending up in a coma with Si Heon’s consciousness eventually taking over his body like in the original story. 

Now on first glance, you might be inclined to give the show some credit for including a new gay character and giving the original Yeon Jun a happier experience with his crush. Explicit gay representation? In a mainstream kdrama? Still very rare and a big deal if done right. But if you think for a moment longer you’ll realize we can’t give the show credit for this, because this is a textbook execution of the Bury Your Gays trope and the narrative punishment that befalls gay characters who act on their attraction. Essentially, what the Korean remake did here was reveal these two characters are gay, killed them both immediately after they decided to pursue a relationship with each other, and then had the het male lead character take over the body of this gay man and use it to enter into a relationship with a woman. Some aspects of this plot were present in the original tale, but this choice to add an additional gay character only to kill him and tie it to their moment of acknowledging their mutual attraction? Made it significantly worse. It was badly done and I will not applaud the drama for representation when they did it in such a cruel way. 

The Ending

SOOD ends on a hopeful but somewhat ambiguous note, with Yu Xuan in 2020 finding a way to go back and save Yun Ru (and Jun Jie by extension) and then breaking the time loop, sacrificing her relationship with Zi Wei in the process even as it breaks her heart (because the only way for them to meet and fall in love in 2010 was to stay in the loop). She sacrifices their romance, and all their memories together, because it’s the right thing to do—she inadvertently destroyed Yun Ru’s life with her time traveling, and she couldn’t live with that knowing there was a way to fix it. We are left with a broken time loop, original teen Zi Wei meeting child Yu Xuan again in 1998, and the hope that they will find a way to make their fates align again and be together without time travel complications. It’s just the right bittersweet touch to end the story on; their previous relationship was lost and their sacrifice was real, but there is hope for another version of a happy life together, someday.

By contrast, ATCY goes for a more explicit happy ending: Jun Hee makes the same choice to go back and save Min Ju, and to break the time loop and sacrifice her relationship with Si Heon, but in ATCY we then jump forward to 2011 to a happy epilogue to see Si Heon and Jun Hee meet as adults. And look, I love a happy ending! But what I said above about the sacrifice Yu Xuan and Zi Wei made in SOOD really resonating because of its bittersweet ending? That’s absent here, because ATCY decided they needed to put a bow on it and reassure us they would get back together. ATCY was just never willing to let us stay in the grief or commit to the darker and sadder aspects of this story, and as a result, the whole thing loses some of its impact.

[chrysanthemumgames]

I’ve been apart of the Choice/Hosted games community for years and I just want to say that your story is in my top 3!

I was literally just saying to myself that I would like an IF that really had characters that had a full life outside your character that interacts with you naturally and isn’t so heavy on the constant stats check, and I got my prays answered and MORE.

First time I played, easily I knew I was going after Hades. I played 3 other times and went after Pyri Charon and Hermes (I will be playing it again for the more Olympus type choices). But TRUST it was hard cause your girl kept wanting to go back to Hades XD.

You’re a wonderful writer and I am invested and patiently waiting for the sequel! May I ask for a few suggestions?

- Character tracking: I love that it’s not stats heavy but I think it would be great for the MC to have journal of some sort in the stats page to keep track of characters and how the MC feels about them as certain events take place. There were a lot of characters to keep track of and it was hard to remember the ones I needed to remember.

- MC Traits: I love how you kept the traits simple *chef’s kiss* but during my play throughs, I definitely tried to be extremely different and subtly different. It didn’t feel like there was a distinct diversity of negative or positive consequences for your flaws. Sometimes it felt like there were and other times I wasn’t sure if I triggered one or not. (I was playing with tone indicators off so maybe that’s why I didn’t really see a difference.) Ya girl just wants a super clumsily MC that everyone wants go catch or be annoyed with cause she’s so clumsily ahaha! Which leads me to my last suggestion~

- Character development: PACING *triple chef’s kiss* its the main reason I kept running back for more ahahaha! (Hades just fully accept me as your wife already T^T) My suggestion for this is that it did feel like the Underworld Pals were too nice. I loved that they are but I would definitely like to see them have flaws that make it reasonable for your MC to dislike them. I legitimately was having a hard time being mean to them because none of them felt like they deserved it.

Thank you so much for giving us such a wonderful experience with this story. There is so much to love and I’m excited to see it expand. Also there are probably others but for the most part you are the only author that actually took the time to add the knowledge of protective hairstyles in your book. You are truly heaven sent. Thank you, now Imma go back and be mean to the my man Hades TT-TT cause I gotta see all versions of this amazing book!

Hiya, and thanks for the ask.

I'll take the suggestions under advisement, but fair warning: I'm probably not going to be doing anything to make the characters less 'nice.' They all do have flaws, and perhaps some of those will be getting a little more airtime in the sequel, so to speak, but I have no interest in changing their core personalities. I consider the fact that they are generally kind and understanding to be a feature of the work rather than a bug, so to speak.

It's not everyone's cup of tea, and I understand that, but I wanted to write a story about fundamentally kind people, and that's what I did.

Adding more opportunities for traits and flaws to be relevant is definitely on my list for the next game, and the character codex/journal/tracker is a suggestion I've gotten before and would like to implement in an update. I appreciate the suggestions!

[runespoor7]

Jiang Cheng brings back WWX to LP after his resurrection because LWJ wasn't around

Five Fun Facts About The Fic I Might Write About It, This Is A Slowburn(?) Version, For Other Versions Ask Again:

WWX insists that he's not himself far past the point of it being sensible. The thing is, it's not the first time JC decided some random demonic cultivator was WWX and dragged him home to demande apologies and play house? Last time was over half a decade ago, so not everyone in the sect knows, but those who remember are pretty wary about it, especially because of what it means about JC's mental state. Is Sect Leader getting worse again? They're also very wary of WWX, some of them openly contemptuous - WWX has the feeling that if it weren't for JC's protection he would be dead - and some of them almost pitying. I think he overhears them talk and that's how he pieces together the backstory, and also learns that the demonic cultivator whom JC is convinced are WWX and that he treats as such don't... end well. Sect Leader takes the "betrayal" badly.

WWX realizes that YMJ doesn't have a second in command. the sect has a person who performs the tasks associated with the job, but JC doesn't have a "second-in-command", never did. it just stuck that way. it sure doesn't mean anything. probably. how weird of JC though.

the Ghost General intrudes on Lotus Pier. There's a fight, JC tries to take down WN, WWX orders WN away from JC, JC freaks out. WWX keeps swearing up and down he's not WWX, honest!!! but... on the other hand... the Ghost General recognizes him as its his master... this is what breaks JC's hopes, finally, and also WWX's heart. You get JC crying as he asks WWX "are you really not him?" and WWX doing the equivalent of Cyrano's "No, my sweet love, I never loved you!" but for who he is, with less clear-cut emotional consequences than in the play (this is because WWX is not dying and thus more invested in keeping the lie up and JC is way less certain that WWX cares about him than Roxane did about Cyrano). They sort of compromise on the understanding that "MXY" is kinda-sorta WWX, but without most of WWX's memories. (WWX is telling himself that's not what he wanted but in fact he's much more comfortable/confident with himself and being in YMJ afterwards!) this is probably when WWX realizes that while his room may not exist anymore, his things are in JC's room.

JC struggles with this WWX being an innocent lamb who has no memory of doing anything wrong in his life ever. He should've expected it. How convenient. But, y'know, a WWX is a WWX, and this also extremely conveniently lets JC off the hook of this pesky "remember how he orphaned your nephew?" thing! It's mostly JC's own guilt now. Mostly. He's not going to do anything against WWX even if it wasn't anyway. Also it's. terrifying. Because WWX has no memory of him, but WWX is around, and also there isn't anyone to judge JC for wanting-- ANYWAY.

They end up having to leave Lotus Pier and catch up with the main plot when WWX gets a spider sense that WN is in trouble. There are no words to explain how little JC likes 1)that the Ghost General is still a thing, 2)that the Ghost General is still a thing when it comes to WWX, 3)that WWX is planning on leaving LP to help WN, so he comes with. WWX tries to convince him not to, but surprises himself by accepting JC's help when JC insists in a clipped tone. The trouble that WN got in also involves JL being in danger. This is my fic so it would turn out that WN tried to protect JL before WWX and JC caught up. Possibly JL and WN have been getting in plot-relevant shenanigans offscreen for a while now, and there's definitely a fic there, what with WN thinking A-Yuan is dead and projecting on JL and JL getting conflicted feelings about the person/thing that killed his father, but that's not the focus in this story. At some point - because by now he's pretty certain JC will not either kill him or reject him - WWX "admits" that his memory has been returning. Not all of it, but enough. If we're all very very lucky JL has been in sufficient danger that JC can lose his head a little and kiss WWX for saving JL's life, or something along these lines. If we're not lucky that part happens beyond the scope of these five things.

[mtkay13]

I accidentally sent a keysmash! I'm really sorry but I hope it can bring at least a laugh to you. I opened your askbox to make a consideration about TYK: I'm not sure if anyone has already talked about this, but I think Faraway Wanderers is a romcom with a wuxia subplot and not vice versa. I don't know how to articulate this more but I really feel like all the gruesome details make the romance humourous in a way (WWX and ZZS flirting often happens during very violent fights and the consequence is that you can't take neither the violence nor the romance very seriously) but also give depth to it thematically (the need of finding peace in one's own life as opposed to a lifetime of struggle and cruelty). It's like the wuxia setting is functional to the love story.

Helloooo!! Haha yeah the keysmash was very interesting hahaha, thank you for that <3 .

And thank you for bringing this up!! I have given it a bit of thought today, and I feel ready to respond now, haha.

First of all, it was great food for thought, and I personally think it's a great way to look at TYK.

There is definitely a play on genres within TYK, and I think that the wuxia-ness of the story is absolutely taking a backseat for the human relationships and dynamics to happen at the foreground. If anything, it initially does feel like an accessory or an artificial setting to put the characters in and let them do their thing while nearly ignoring most of the background plot during the story.

I also fully agree that there is a surprising lightness and a lot of humor in the way the story is presented; not only are WKX and ZZS quite funny, but the whole cast is often made fun of, turned into a joke--the LLJ (glazed armor) itself is a rather ridiculous McGuffin, and on top of that Priest really likes to tank her climaxes and emotional beats with either jokes or sudden events that both give whiplash and considerably defuse the tension (or outright turn the whole scene into a joke, LOL).

I think the twist I find in that is: WenZhou mostly deal with everything that happen in their lives with lightness because… it's what they are used to, it's maybe not that big of a deal, and it's also a way to not make it so serious when it threatens to be overwhelming. The extreme violence is normalcy, and it's that "casualness" that can suddenly make it jarring once recontextualized. The same way the wuxia genre is subverted in TYK (in the way the story doesn't follow the typical wuxia storyline, in the way some themes are turned on their heads), I'd argue that the romantic comedy genre is also subverted, and at times borders on…. tragedy, to be honest?

I feel like the latter part of the books, although some scenes like WKX's aborted confession (when he tells ZZS he'd like to spend the rest of his life with him, but then laughs it off like it was a joke, for the tone of the scene to then flip and be about the loss of WKX's parents); the scene where ZZS sings Li Sao, and many more later, and of course not to mention the entire last ark and extra 4---all of those passages send the message that actually, most of this was serious. In a way, those scenes, and the latter part, reframe the narrative to make that lightness serious, and as it turns out, the romance, the violence, all of that was serious and meant to be taken seriously.

The humor was there to cover for sorrow, frustration, disillusion, investment, and all of those more serious, deeper feelings. The ridiculous wuxia plot was no joke and was the core of WKX's entire life story. ZZS has a very serious backstory when it comes to attachement, to love, to commitment, and is going through a lot regarding his own ambitions, goals, and what living means to him, etc. On top of that, the wuxia story responds to Qi Ye's themes and storyline as well. So---the wuxia "subplot" is irrelevant until it becomes sadly relevant.

So to summarize… I almost want to say that it's a tragic love story set in a dramatic wuxia setting disguised as a romcom set in a setting of wuxia subversion, hahaha. Like you put it very well, actually; the way both genre are articulated around each other, and the way the romance and relationship between WenZhou take precedency over the wuxia narrative allows for it to be explored with depth.

I feel like the gradual deepening of seriousness is also to signify that, when people start mattering, when the characters care for each other, the events of the story start mattering in ways that they can't just be light and comical. The way the romantic comedy topes and the mockery of some wuxia archetypes only serve to amplify that and make it even stronger, more apparent, in contrast.

Anyway!!! Hahah thank you for raising those considerations and discussion points! I actually really wanted to engage properly and think about it thoroughly to the point I asked some people around to see what they thought and what they had to say as well. I really enjoyed it and I thought it was a great angle to go about the story. If you have anything you want to bounce off from this or feel like responding, I'd also be very, very pleased.

Many, many thanks for reaching out!!!!!!

[galexibrain]

The Buu Saga gets a lot of shit, and while I do agree with some, I disagree with others, and overall I still love it bc it was the first arc I saw properly (started in the midlde of the Cell Games when DBZ first aired here).

But the one thing that find ... idk, unfortunate? sad? is that with all the drama and the various sudden shifts in direction the individual deaths lose their meaning.

I heavily disagree with the Dragon Balls taking away emotional depth from the story bc "everyone gets resurrected anyways", no matter if they're temporarily unavailable (like when Piccoli & Kami die).

From the first deaths up until the Buu Saga every death among the main cast does have meaning, and it has emotional weight and consequences for the tone of the story AND the characters themselves.

Starting with Bora's death back in the earlier days of the manga: for the first time we see what the Dragon Balls can actually be used for, instead of "haha world domination haha she wants a boyfriend lmao he wished for a pair of undies".

And the first death that really hit was Krillin's. It had a strong impact on Goku and on everyone else, King Piccolo was the first actual villain that really posed a threat - up to and including Tao Baibai it was mostly "Goku can do anything". Like when he solo'd the entire Red Ribbon Army.

And if y'all already forgot (I tend to lmao): Chao-zu and Roshi died too during the King Piccolo arc, and that was when King Piccolo killed Shenlong, so it appeared the Dragon Balls were gone for good.

The tone of the story at that point was, while getting more serious, still much more light-hearted than after the DB/Z break. And still every death was a significant part of what was going on.

The next death that happens is Goku's when Raditz arrives. And that WAS a fucking relevant thing! It's for good reason that they decided to make an entire new anime even though in the manga it's just another time skip.

The main character dies! The one who, by the end of the last arc, was considered absolutely invincible! And even though, as Goku was dying, they said "dw we're going to bring you back", it really hit. Especially knowing what was going to come a year later ...

Fast forward, Nappa and Vegeta arrive and Nappa essentially solos Yamcha, Chao-zu, Tenshinhan, and Piccolo. Never before in the story did we have so many deaths among the main cast at once! It was never this dark before! And now the Dragon Balls are gone forever because Kami is dead too! I only got to this part after watching the later arcs, so I knew what was going to happen (mostly) but that must have felt fucking dark!

Bulma has a full-on breakdown when she learns that Yamcha died and that the Dragon Balls are gone. The only other time we see her like that? That's right, when Vegeta dies 10+ years later which seemed to be pretty permanent too at the time.

I also love how the tone shifts again the moment Krillin drops the Namek bomb. Hooray, space adventure! That was a nice throwback actually to the good old times of "we're going to collect the Dragon Balls and travel the world universe!".

The next death is Krillin on Namek. And I don't think I have to explain how deep an impact that had on the narrative. Goku doesn't KNOW that Polunga can resurrect a person as often as you want. Goku doesn't KNOW Krillin isn't gone for good. And even if he knew - I think such a brutal, unexpected death would have caused his SSJ transformation aynways.

(Honorable mention Vegeta: when he died it wasn't as an enemy. His death seemed finite at the time and it was SAD. He died defeated and hopeless and far from the proud warrior he was before.)

The next thing related to death and Dragon Balls we see is Future Trunks and what he tells us about a world WITHOUT Dragon Balls. It's catastrophic! (And also simply realistic, which ouch).

The deaths during the Android/Cell Saga (I often count them as one lol): Sixteen, Future Trunks and Goku. And like, boi.

Sixteen was always going to be finite (which booo, why wasn't he resurrected alongside Seventeen? Boooo) and it mostly served one purpose: to get Gohan to snap. It's not that significant on a larger scale bc anyone else's death would have done the job too. For example one of the Baby Cells killing any of the Z fighters? I think that would have done it too.

For Future Trunks and Goku: Both of these had massive, longterm consequences. For Future Trunks bc I firmly believe that watching him die was the main catalyst for Vegeta to start caring and to realize that shit, yeah, he's a father, he has a son, that son means something to him.

And Goku's death did seem to be permanent. It was supposed to be. Gohan was supposed to be the main character now. Theoretically, like with the break between the DB anime and DBZ they could have made another anime.

What we get instead is a chaotic mess that I love very dearly but that I wish would have gone differently at a few points. (I am a fan of resurrecting both Vegeta and Goku though. This is Dragon Ball and I don't want death to be permanent here. :P)

But what I dislike the most is that literally everyone was turned into a background character whose death was just "meh yeah everyone's dead now, sucks".

Gohan's "death" was a clown show and actually the thing about the Buu Saga that annoyes me the most bc 1) why is anyone acting like he's gone for good? Dragon Balls much? and 2) when he "died" Bulma & Co. hadn't resurrected the people from Vegeta's Majin Oopsie yet. So, even if Gohan had died ... he would have already been resurrected alongside the people at the tournament and Kibito. C'mon.

And all that came after felt so ... insignificant. Up until Buu destreyed Earth it felt like no one even cared that literally everyone was dead. Krillin, Bulma, Yamcha, Eighteen, Chichi, etc. Goten had a tiny moment of anger when Buu killed Chichi but Trunks didn't even think about his mother. There were a few among the dead that can't be revived with Earth's Dragon Balls anymore.

It felt so brushed aside ... like "yeah those guys aren't important, no need to mourn them or even acknowledge their deaths much. The most reaction we get is when Goku tells Vegeta that Bulma is died to get him to fuse, which is basically a single panel of Geets going "grrr". Wow.

Idk. Even with the apocalyctic feeling during the Buu Saga that felt cheap.

[mydarlingdearestdead]

The Things We Do For Love - Chapter Nine

The amphitheatre, erected by Hephaestus’ hand upon the soft earth, seated the council as well as the addition of an assortment of other minor deities intrigued by the displacement. The world stood still and silent. The moon hung suspended overhead, bathing the scene in her ethereal silver glow- Selene’s gift to human kind. Those who take comfort in the darkness trust her to light their way and she, in her eternal gratitude, could do no less.

Ganymede was notably absent. Hebe knelt rightfully to the left of her mother. Stone-faced, she looked as if she may have been mourning her previous banter with Dionysus.

Zeus, recovered from the previous days’ battles, greeted all with a short, hostile statement. He concluded his speech with the acknowledgement of a final verdict to be reached by dusk. These words prompted a glance in Apollo’s direction.

Apollo retorted, rather spitefully in all truth, by addressing not only the council but the entire congregation.

“You each know the story of Hyacinth of Sparta. You have undoubtedly heard whispers of Zephyrus’ name and screams of my own. I implore each of you, open your minds to the truth, as opposed to the tabloids.”

A beautifully naive nymph swooned, while an elderly satyr caught her and blushed profusely. Eros, looking upon them, shouldered his bow. Aphrodite nodded approvingly, braiding her sheaf of black hair over one shoulder.

Apollo plucked his lyre from his shoulder. Truthfully, he had come to think of the melody as belonging to Hyacinth. Regardless, he continued to give it as charity to each ear in attendance. It was a quick tune now, mimicking the impatience which drove men to complete feats of pure idiocy.

Each Olympian shuffled uncomfortably in turn. Hermes’ caduceus talked amongst themselves until he threatened to express mail them back to his palace. Upon hearing this, they fell into a charged silence.

“What about Daphne?” The demand of a single, courageous nymph. “Her tree sits by my river. Every day, I see Hyacinth’s grief for his sister. I saw what you did to him.”

Hush fell upon the congregation.

Zeus, voice like thunder rolling beyond the mountains, shattered the delicacy of the act, “What about Daphne, dear son? My kindness saved her, did it not?”

Apollo’s toned fingers strayed. An awful note reverberated. Artemis flinched. She extended a hand, reaching for her brother. He paid her no heed, too preoccupied for familial bonds.

In that moment, bathed in moonlight, Apollo strengthened.

Artemis, perhaps, lending her twin courage despite his brash dismissal, or Selene, taking pity upon the young god.

"I wish not to speak of Daphne." He told the awaiting council, "I wish only to speak of matters of relevance- Those of Hyacinth, of love and of his pending immortality. That is, if you, dear council, do not take issue."

Athena nodded approvingly, grey eyes narrowed. Zeus grimaced and Dionysus grinned in turn. Aphrodite offered a shallow thumbs-up gesture, biting her lip. Hera merely smirked, Hebe’s hand grasped in her own.

Apollo avoided each of their gaze in turn, breathing steadily. He finally laid his eye upon the moon above.

Quite abruptly, he realised the true reason for the council's ready abandonment of Olympus. Zeus put up no protest as he wished to deprive him of the safety of home, Athena relished the challenge it would bring and Artemis knew the truth. Quick-witted, she was always sharper of mind than her brother.

The planet below was his true domain. As Hades' ruled the underworld, Apollo ruled everything light touched upon. No consequence could be made to night or day, neither rural or urban.

Light rules all.

A recess was ordered swiftly as Apollo demanded it, seeking to collect his thoughts. During this, Hades melted into the shadows in a vain attempt to escape his boisterous brothers and Hestia nursed a fire in the centre hearth.

Finally, Apollo was called upon to deliver his ultimate argument.

“Ah…” Athena halted Apollo’s preparation, “If I may see your lyre?”

Apollo paled, “Why should you… My lyre is of no consequence to this case, Lady Athena.”

“Then you should be willing to give it up.” She reasoned. She held out a hand, awaiting his resignation.

Zeus, patience waning, snapped, “My gods, just hand it over! Some of us wish to return home before the next century dawns.”

Upon hearing such words, Hera rolled her eyes.

Head bowed, Apollo did as commanded. He turned once more to face the council. The melody’s absence, however, held him accountable. His head felt lighter than Zephyrus’ winds. Simply, Apollo was no longer a prince of Olympus, but rather a man, standing before those much larger and of far more import than him, and hopelessly pleading with them.

Athena looked upon him with a disappointment to rival her father. She held his lyre aloft in a truly tantalising nature. She wished to deprive him- Not only of comfort, but of the control he carried with him.

“Hyacinth…” Apollo croaked, “He didn’t deserve that.”

He stood as he had on that day- In a field of wildflowers and wholly alone- and Apollo crumpled to his knees. He heard Artemis’ shocked inhale in time with the sharp snapping noise as he broke the necks of the flowers beneath his knees.

Scrambling for purchase, his fingers sunk into the soft earth.

“Apollo.”

Zeus’ voice. Furious.

“Apollo?”

Artemis. Concerned.

“Apollo.”

Athena. Disappointed.

She render his lyre to the affect of gravity and, with a devastating twang, it landed before Apollo's crumpled figure.

The sun had begun to rise, shedding light upon Apollo’s arched back.

Yet, just as it had lightened, the sky began to darken above their heads. After a moment of murmured inquiry, each Olympian came to their solemn conclusion in turn: The very sun which hung at their will was cowering behind the shield of the moon.

When Apollo spoke, he did so with the reverence of a priest preaching for selfish means, "I will have Olympus in ruin before I allow his death to continue unhonoured."

No peer dared raise protest.

The sun moved on, and the day returned. Apollo's expression, however, did not lighten.

Zeus’ white-knuckled grip on his throne was the only indication to his apprehension. Athena returned Apollo’s lyre. He tossed it aside carelessly, caring not for the ridiculous thing.

“The verdict,” He declared, “Will be delivered at the break of dusk.”

Apollo smirked, “Oh, well… I suppose I will sit and fix my lyre.” He sat, cross-legged, in the field, surrounding by a patch of splendid crimson blooms. Demeter floated toward him, reaching to pluck one.

“Oh, I don’t think I’ve seen these before.” She commented cheerily.

“They’re called Hyacinths.”

“Oh…” She retreated a step, “How lovely.”

Masterlist

Ao3

[mayamidnightmelody]

Cyberpunk

Cyberpunk, a subgenre of science fiction, emerged in the late 20th century and is characterized by its focus on advanced technology, cybernetics, and a dystopian society. This genre, often described as a fusion of "high-tech and low-life," juxtaposes the rapid advancements in technology with stark social decay, inequality, and corruption.

The origins of cyberpunk can be traced back to early influential works, with Philip K. Dick's "Do Androids Dream of Electric Sheep?" (1968) laying some of the groundwork. However, the term "cyberpunk" itself was popularized by Bruce Bethke's 1983 short story of the same name. It was William Gibson's novel "Neuromancer" (1984), though, that truly defined the genre, introducing seminal concepts like cyberspace and artificial intelligence and setting the tone for the cyberpunk aesthetic and narrative style.

At the heart of cyberpunk are several key themes. One prominent theme is the intersection of technology and human augmentation, where characters often possess cybernetic enhancements. This fusion of human and machine raises profound questions about identity, humanity, and the ethical implications of technological progress. Dystopian societies are another central element, typically depicted as futures where corporations hold more power than governments. These settings are dark, gritty, and oppressive, highlighting the dire consequences of unchecked capitalism and technological misuse.

Protagonists in cyberpunk stories are frequently hackers, rebels, or anti-heroes who navigate the seedy underbelly of society. These characters, often fighting against corrupt systems, embody a sense of rebellion and resistance. The concept of virtual reality, or cyberspace, is also central to many cyberpunk narratives, exploring both the possibilities and dangers of immersive digital worlds, where cyberspace becomes a battleground for control and freedom.

Visually, cyberpunk is heavily influenced by film noir, characterized by neon lights, rain-soaked streets, and a blend of futuristic and retro elements. Iconic films like Ridley Scott's "Blade Runner" (1982) and anime such as "Akira" (1988) and "Ghost in the Shell" (1995) have been pivotal in shaping the genre's aesthetic, creating a distinct and enduring visual style.

The influence of cyberpunk extends into modern interpretations through video games, fashion, and music. Contemporary works like the game "Cyberpunk 2077" and the series "Altered Carbon" bring cyberpunk themes to today's audiences, delving into issues like surveillance, data privacy, and the impact of AI on society. In fashion and art, cyberpunk inspires a unique style that blends futuristic elements with punk and grunge aesthetics, incorporating leather, metallic fabrics, and tech-infused accessories. Artists often depict sprawling, neon-lit cityscapes and cyborg characters, capturing the essence of cyberpunk's vision of the future.

Cyberpunk remains a relevant and influential genre, offering a critical lens through which to examine the complexities of our relationship with technology. Its exploration of the intersection between humanity and machinery, the implications of a tech-dominated future, and its distinctive style ensure that cyberpunk continues to be a compelling and thought-provoking genre.