#it’s important to know when to end a story

[gallusrostromegalus]

I did not care at all for Aizen Sosuke when I first read bleach. I found him boring, and worst, unthreatening.

So it's pretty jarring for me that I have been OBSESSED with him in your AU. I'm rotating him at great speed

Walt Disney was a jackass who was flat-out wrong about a lot of very important things, but he employed a great many geniuses of storytelling, and there's a piece in Disney Animation: The Illusion of Life by Frank Thomas and Ollie Johnson that discusses a key feature of Disney Studios Character Design:

"Of all characters, villains are the most fun to develop because they make everything else happen. They are the instigators, and always more colorful than the Hero. They may be dramatic, awesome, insidious or semi-comic, but they MUST be appealing. Almost any story becomes innocuous if all the evil is eliminated, but we do not necessarily gain strength by being frightening. we want a character that will hold the audience and entertain them, even if it's a Chilling Type of Entertainment."

And I've found that to be an important principle of character design, especially the kind of canon restructuring I do.

Aizen had a LOT going for him in canon- for all of Bleach's other faults, Aizen's conspiracy and THE REVEAL are spectacularly constructed and executed. I legit screamed and threw my mug across my dorm room when I read it in the manga the first time. He's also conventionally attractive and the translations I was reading gave him the speech patterns of Every Douchebag In Your 101 Political Theory Who Thinks He's The Smartest Man In The Room, which made him a terrific combination of Unfortunately Charming, Menacingly Competent and Engagingly Obnoxious.

...But he falls flat in a few key places.

Aizen's reasoning could be MUCH more sympathetic- After all, he is RIGHT. Soul Sciety does suck ass and all the options kind of suck. Who designs a universe like that? An asshole who needs killing, that's who. The best kind of Unhinged Madmen are the kind who spell out their reasoning and you realize that there but for the grace of Not Having Super Powers Go I. Canon!Aizen makes a few Good Rhetorical Points, but seems to lack any personal connection to his all-consuming plan.

Another issue is that nearly every villain with A Plan has a clear end goal AND a lot of the menace is drawn from the fact that the plan *could* work. Aizen's plan for betraying the court guard and then killing them off before proceeding into the Royal Realm to Kill God sorta falls apart when it's clear he planned to use pretty much all his accumulated forces dealing with the court guard and doesn't seem to have a plan for the Even More Powerful Royal Guard, let alone God. For how meticulously planned the rest of the plot is, the last two VERY IMPORTANT steps are just handwaved.

So I sat down and started with the plot beats Aizen MUST hit, and tried to imagine what kind of guy would he have to be to get there? And I came up with this:

Sosuke Aizen is a fundamentally good man with genuinely good intentions who is really trying his best for the whole world.

Think about it- what lengths would you NOT go to if you think you found a genuine shot at Fixing Everything Wrong With The World Forever? We all talk about killing Hitler if we found an actual Time Machine- would you do it if your only chance was when he was a baby? Would you kill an infant if it meant you could stop World War II before it starts? Of course you would! One small life for over 75 million? You'd be insane not to! What if you found out that you could prevent the future extinction of Humanity by killing your best friend today? Ten Billion lives? For theirs? It's simple, really- Hell, it's your Moral Obligation to do that if you were SURE!

-And Aizen IS sure. He is absolutely, totally, completely sure that He Can Save Everyone if he just gets rid of that idiot sitting on the throne of heaven. He's seen the plans! He knows where the gate of heaven is! It's So SIMPLE he just has to get inside, and he knows EXACTLY how to do it, yes it'll be hard and there will be... unpleasant parts but. IT. WILL. WORK.

He is of course, insane.

Aizen didn't have One Bad Day that set him irrevocably on the path of madness. It was a succession of catastrophic disappointments and realizations that he was living in a fundamentally irrational world that made irrational thinking look sane. The Catastrophe that befell his family, working for the central 46 and later the court guard and seeing how the organizations were inept to the point of abuse or corrupt to the core, learning that The Actual House Of God is a place he can just? Go to? Anyone would start thinking you were just a handful of white lies and homicides away from Fixing Everything, Forever.

Not only is Aizen insane, he is nowhere near as smart as he thinks. He is smart- He does have a knack for being able to guess just what will spur someone to action or make them recoil in fear. But mostly he gets extremely lucky Many, Many, MANY times. On some level I think it gives him Confirmation Bias that this is what he's supposed to be doing. Aizen is also nowhere near as smart as (nearly) everyone else thinks he is. His bizarrely good luck makes him look like a hyper-competent genius when really it was really the catastrophic failure of Soul Society as a Society that let a merely mediocre conspirator to evade detection for so long.

Being that he is at most, mediocre, he had to have Outside Help, specifically Gin's emotional support and Tousen's Competence- and if there's a part of the fic that stays true to canon, it's this.

Gin is Aizen's emotional rock in Canon. He's the ONE guy that Aizen genuinely trusts, and considers his 'my only real partner' in his scheme. There's more than one occasion in the manga where Aizen more or less asks Gin "Is this actually a good idea?" and Gin backs him up every time.

...Which is more than a bit at odds with Gin's later stated goal of "I did all this to kill you at your most vulnerable to protect rangiku" . It never rang true to me. So I started thinking why on EARTH Gin would be backing Aizen up like that, and realized there was a hole in my world building that he slotted into nicely :)

On the other hand, the entire fic was started because I didn't like how Tousen's character arc ended, so you can imagine how much he's changed.

But in canon, TOUSEN DOES ALL THE FUCKING WORK.

Lab work? Tousen.

Supervising the arrancar directly? Tousen

Actually getting victims for the Hogyoku experiments? Tousen.

Altering all the archives to keep Aizen's plot hidden? Tousen.

Sending all the Orders allegedly from the central 46? Tousen.

Making sure Unohana believes Aizen's fake body is real? Tousen.

Managing all the day-to-day operations at Las Noches? Tousen.

There's even this little exchange, which is Tousen's first appearance in the Manga:

Aizen establishes this entire meeting is a little fake-out a few pages later with "now isn't that a convenieint time for the alarm to go off?"

which makes him look like he's investigating, but he's also going "Good job on disrupting everyone with the alarm Gin!" It's ballsy of Aizen to do a check-in on his plan with his main nemesis in the room, but also his style.

I think the same thing is happening here with Tousen. To make sure Ukitake wouldn't raise a huge fit about the proposed execution of his beloved lieutenant, which might fuck everything up for Aizen because Ukitake is one of like, three people Yamamoto will listen to (sort of).

...So he had Tousen poison Ukitake to keep him out of the way.

ALL. THE. FUCKING. WORK. It's even in his name! The characters for "Tousen" Refer to a legendary scholar the emperor of China sent out to discover the secret of immortality- only to kill the scholar when he returned with that secret. The character for "Kaname" means "Necessary/Vital/keystone" or "to organize/take account of". His name LITERALLY means "Scholar who is essential for the plan (that we're going to kill later)"

Another thing Kubo did well in Bleach: his name game is Off The Fucking Charts.

-but I digress.

In AEIWAM, it's much the same only this time Aizen sees this very dangerous witness who is immune to his illusions but also extremely snart and capable young man and instead of risking being caught out by the one damn guy who can see right through him, opts to Curse Kaname into doing as Aizen says, and doing all the fucking work of this conspiracy against his will.

It's Not Nice, but Aizen genuinely thinks he's doing Kaname a favor by subjecting him to this degrading and incredibly painful servitude- I mean, Aizen's only other option was to Kill him to keep his silence, and isn't it wonderful that you get to help fix the universe? You're the one always going on about Justice, I don't understand why you didn't jump at the chance to mete out some Divine Justice.

An Excerpt from the captain's meeting in between the Massacre that made the visored and Zaraki's arrival, when Kaname realizes Yamamoto is 100% serious about his promotion to captain of the 9th and goes to throw up in the garden. Aizen offers to go check on him while Unohana very politely reads the general the riot act:

---

"You broke your toy Aizen." Kaname coughs.

"…I really am sorry for running you ragged like this. I really shouldn't have gotten so mad about you hiding the the hogyoku- it was very petty of me." The bastard sighs, taking off his glasses and rubbing his face, entirely genuine.

Kaname stayed on his hands and knees, weaving slightly as another wave of nausea flowed through him, powered by disgust and rage.

"How about this- I've got a lot coming up with the new job, training Gin and disposing of Kiganjo- So how about I promise to not give you any orders for a while? You will have to keep our arrangement a secret and not interfere, of course, but other than that, you're free to do as you please for- a year and a day is traditional isn't it? No, that's not going to heal by then- Oh, would you look at that!"

Kaname didn't have the strength to offer his usual rebuttal that he won't look at anything, ever. The sides of his head tingle like his skul was being pressed between two enormous hands made of static electricity.

"It's 11:11! Alright, I won't give you any Orders until 11:11 am on November 11th, 1911. That's easy to remember! What do you think?" Aizen continued cheerfully, patting his back and the Curse nails.

"…I can't." Kaname groaned. He could scream if he had the energy, but due to Aizen's Illusions, nobody would hear him. "I actually physically can't think. Please…"

"Of course! You really are such a help to me, it would be a shame to lose you. I'll even amend our contract, so you don't get paranoid-" There was a sizzling sound and a new stroke of hot pain up Kaname's spine as Aizen did something to the wretched Bakudo. "There. No compulsions for eleven years and a day. What do you say?"

Kaname grimaced, but dropped his head. Save the energy to fight another day. "…thank you, Aizen-sama."

"Good man! Let's get you on your feet." Aizen beamed, putting his glasses back on and offering him an arm.

---

He genuinely thinks that he's doing everyone a huge favor and if they don't get it it's because they're just not smart enough, but it's alright, He's a Benevolent God and they'll appreciate all his hard work the next time around :)

Aizen is a man who is FULL of joy. He loves what he does! He actively takes pleasure in it! And I think that's something that REALLY delivers in terms of sympathy AND horror for him. Who *Wouldn't* have a great time actually fixing the universe? He's a good man who enjoys doing good works, and this is the greatest work of all!

It also Delivers on the Horror when I get to write the deliciously fun scenes where Aizen is Elbows-deep in a novel War Crime and waxing poetic about how GREAT this is, or being confused why the people around him are reacting with fear. Don't you want to make everything better too?

[voidingintotheshout]

As an adult who reads a lot of classic literature, I realize I’m kind of in the minority here, but I’m kind of confused that most people don’t really get reading classic literature. It’s like any other hobby, like drawing, or making music or knitting/crocheting. Not every one (Book or drawing or knitting/crochet project or short story written)  is going to end up being a winner, but it’s a nice diversion, and there are a wide variety of ways to appreciate a book other than just entertainment value. The nice part about reading a classic book, as opposed to just some random books you found at a thrift store for a dollar is that the classic work is at least verified by critics or readers from the past that it was found to be worth a wide variety of readers‘ time. Like Kafka’s the metamorphosis has like tens of thousands of five star reviews (going back almost a century if you know what I mean) and so if you don’t like it, it might not be your thing, but nobody needs you to weigh in on a book like that. I’m not good at social cues, and so it took me a long time to figure out why everyone insisted on starting, when reading Herman Melville, with Moby Dick. A book that famously almost nobody enjoys. Like he has other books that are really enjoyable, that aren’t as serious so nobody reads them. It took me a long time to realize that they don’t really give a shit about enjoying their time reading Moby Dick. They’re just reading the book to check it off of a list of important books. They don’t care if it’s good or that they enjoy it. They just need to get it over with. It took me so long to figure out why no one was ever interested in my recommendations of genuinely entertaining Herman Melville books, because the point wasn’t for them to enjoy their time reading Melville, it was to check off the one book of Melville‘s that they are expected to read, and then they are going to never think about him again. Like there are probably more engaging works by friends Franz Kafka, but nobody really cares about actually finding a way to appreciate the author, they just want to check off the one book that anybody cares about and then they’ll never think about him again. It took me so long to figure out that that was the mindset of the average person. I hope this didn’t derail the post. I just felt like it was meaningful nuance. Oh, and it’s one long paragraph because I am on mobile and if I try to split a paragraph into smaller paragraphs, it can sometimes delete the entire post and I don’t want to risk that. 

goodreads reviewers aren't human

[vexxandra]

25 predictions for 2025 (pick-a-card reading)

happy new year sillies <3 01-01-2025 ☆

disclaimer: all of my readings are just for fun, you write your own story every day of your life, dont let me tell you how to live it

pile 1 > pile 2 pile 3 > pile 4

pile 1

biggest theme: change

reflexion and redirection are major elements of the new year

breaking free of past shackles : discarding old things

miracle year, a lot of wonderful things are coming

be selfish. you are in charge of your own happiness

you will learn to love yourself this year

fulfilling year especially in terms of career or academics. make sure to properly prepare in order to gain an edge over others

early bird gets the worm mentality

"winter arc" mindset the whole year. "lock in"

first six months will be very busy, you'll focus on yourself and not have the time for romance

learning how to collaborate with others

big lesson: learning how to work through burnout

august 2025 will be a very happy month for you

potential summer fling, will reginite flames you didn't know you had

some kind of soul fulfillment, could potentially be romantic or personal

imbalanced feminine energy, learning to reconnect with your divine feminine

a turbulent period will occur (im hearing mercury retrograde)

last half of the year might be grey

sleepy energy, taking things slower

make sure to rest, dont push yourself to move when sluggy

you're going to end the year with a nice energy. i see you surrounded by lots of family, friends and people you hold dear

if last year did not feel chrismassy, dont worry, because this year will

an extra message about children and new families. pregancy within you or another may occur

releasing all anxieties caused by this year, and a lot of reflexion

overall a pretty good year, some guidance i might give would be to not push yourself over the edge, and try not to drink too much caffiene <3

pile 2

biggest theme: self love

i get the feeling you've lost someone very important this year, most likely a break up, but you still have feelings for them

disillusionment and prioritizing yourself are big themes for this year

you're going to recognize that this person was pretty toxic and will take them off of their pedestal

learning how to fall in love again, with yourself and with life

reconnecting with your femininity

a lot of themes about toxicity and distancing yourself from people that don't have your best interests at heart

crown chakra healing by taking one day at a time (a LOT of light purple imagery in this reading)

very tumultuous first few months of the year, you'll feel like your life is flipping upside down and rightside up for a while

reconnecting with your spiritual guides and your spirituality/religion will bring you peace

if you're not religious, exploring some concepts may occupy your time

potential new romantic interest, but you must fall in love with yourself first

advice i can give would be to start something new, and to spend a lot of time by yourself. take yourself on dates and spend time with loved ones

sleep is very important this year, maybe consider starting a dream journal

i feel like most of you will get into some kind of artsy hobby this year. this can be anything from visual to musical to physical, but i can see it becoming a big passion

learning how to be more flexible in your thoughts and actions is a big lesson

springtime (particularly may) will be an amazing period

indie movie life in the spring, it'll feel like your life is straight out of a book

productivity, creativity, and happiness will be at an all-time high

you'll meet so many new people during this time, and im seeing some travelling too

child-like energy, almost like a giddy joy

make sure to not forget your responsabilities, i can see that you might be too caught up in your excitement and forget to balance work and play

overall very good year. it might not feel like it right now, but things are guarenteed to get better <3

some guidance i would give would be to reflect on your past, but never to dwell in it

pile 3

biggest theme: new beginnings and hope

amazing potential, i can see you're carrying something precious from 2024, and wanting it to grow in the new year

it will, but be sure to wait for the right time and approach it with dedication, consistency and care

strong foundations are laid, but be sure to not be reckless

good communication and problem resolving skills are going to be very important this year

flexibility and detachment are going to be vital too, dont try to control situations and dictate outcomes

forgive others for their mistakes but be sure to be assertive too

for those in a romantic relationship: this relationship will last a long time <3

messages about changing your identity, there will be a time when you dont recognize yourself, take some time to reconnect with your inner values

"lucky girl syndrome" mindset. you'll be attracting so many blessings this year

abundance really is yours this year, the cards are showing so many blessings coming your way

affirm to yourself that you have everything you desire, and it will appear

summertime will be an extremely happy period for you. i see a lot of happy memories being made, and a lot of productivity as well

the end of summer and fall might be when things slow down a little, i see a little more uncertainty and anxiety, but it will all pass

big emphasis on relationships this year, but mostly romantic

for those currently in a relationship, here is confirmation that your person is a soulmate and will be in your life long-term

for the singles out there, you'll soon meet an amazing person (timeframe: june or july)

in terms of academics and career, your year will be pretty tame

there will be important decisions to make, and that might stress you out, but the outcome will be good

bottom line: the ending of this year will be good, and there's nothing you can do to change that

important lessons you will need to learn will be to think things through before acting upon them, hanging with people you feel truly appreciate you, and walking away when you feel they don't

appearances may be deceiving, make sure the people you surround yourself with have your best interests at heart

do not compare yourself with others, this year will hammer in that lesson time and time again

overall a very good year, some guidance i would give would be to guard your heart from people with negative intentions. there are snakes and backstabbers everywhere, keep yourself safe <3

pile 4

biggest theme: self-improvement

this year you'll return to your roots, fully shedding your old life to try and reconnect with your innermost values

reassess what works for you and what doesn't, i sense a lot of toxcitity in your life

this year you'll develop many new relationships with many new people

these relationships will provide interpersonal insight: remember that you are who you surround yourself with

this year, you'll practice setting boundaries

its never aggressive to be assertive, and those who matter won't mind

despite the heavy focus on new relationships, prioritize yourself

going on walks, meditating, journalling and going on solo dates are all amazing ways to start to feel comfortable alone

this year will be full of endings, dont resist it, embrace it

change isn't inherently bad, just like how difference isn't inherently bad

very financially stable year, you'll be more open to taking career risks

if there were any financial struggles in the past year, take comfort in knowing there will be little to nothing of the sort in the future

be careful to not be boastful about your finances though, as its better to succeed in silence

you create your own happiness, you are the main character, stop relying on others to save you

this year, you'll stop seeking others validation and look inside of yourself to find what you've been searching for in others

you'll be stepping into a bad bitch energy this year, one that feels comfortable being alone or with others

strong leadership is something you'll be developping this year, as well as strong manifestation skills

you want it, you're going to get it!!

go after all of your goals this year, hesitance will do you no good

i can see that at the end of the year, you'll emerge a totally different person

you'll be more confident, self-assured and more joyful (i sense that autumn is an important time period)

overall, this year will be a fresh chapter in your life

you'll shed the old you, bad habits, and negative aspects to make way for a life and personality that's authentically you

some advice i would give would be to not be afraid to stand apart, dont worry about the opinions of others

speak of success, and it will come to you <3

[power-handmaiden]

Chuck Tingle interview

OK, here is the FINAL 2024 Tingles My Butt post, which I've been pretty hyped for. I still kind of can't believe this. While I was figuring out how I'd move on from 2024, @drchucktingle generously offered to answer some questions of mine to commemorate the end of my tingler project! Here they are!

-Considering that your process for tinglers is just to write it out and not stress about proofreading and editing, was it weird for you to see someone decide to go back, examine, and contemplate every single tingler published in the past decade?

the whole dang project was really wonderful for me, for exactly the reason you have just said. tinglers are very STREAM OF CONSCIOUS and only edited with one quick pass so while i think this adds to their honesty and rawness it also means that my time with them is limited. really watching someone go back through them at this depth was like reading a diary that i have not opened for many years, and it jumps around through time in a very beautiful way. it was very moving

-I love tingler character names. I personally admire how many great ones you come up with. (I never know what to name my ttrpg characters.) You just come up with all these great names that seemingly spring from nowhere, how do you do it?

DANG great question cant believe i have not been asked this before but yes there is a type of name that shows up in the tingleverse that is unusual and has a certain feeling and cadence that is very specific. if i am trotting along with sweet barbara and there is a name of a product or a place or something that has this tone we will say ‘oh thats a tingleverse name.’ the reason i wanted to do this in the books was as a very subtle way of saying these stories exist on a timeline that is RIGHT next to ours, so in some ways it is exactly the same as our world but there are these little cultural differences with things like chocolate milk and spaghetti and then with the names. you will have buckaroos like justin and sarah trotting along next to buckaroos named corb torbins-quill or borto lart.

-So, as a reader, reading from 2014 to now, old tinglers and new tinglers feel different to me. I believe you when you say tinglers have always been sincere, but they feel MORE sincere than they used to be. Like, I feel like there was some self-consciousness and irony in some of the early tinglers that you've since let go of and embraced the Chuck Tingle voice more. I don't know, am I imagining this, or does this square with your tingler writing journey? If it does, what has that process been like for you?

i think you are absolutely correct. the intention with tinglers was always to be a place for me to express myself with complete sincerity, but the practical way of HOW to trot like this took a bit of an evolution to arrive at. in other words i knew the basics, but actually refining the best way to express yourself and perform your art takes time. maybe in the same way goin back and watching season one of a tv show can feel very different from season three, even though they are part of the same expression. 

similar thing happened with in my chuck PRESENTATION as well, where my main focus was to stay anonymous so the metaphors i used to talk about my life were still true but laid on much thicker. even my attire was a large gi so that you would not even be able to see my shape, which has obviously changed now because i wear suits these days. all of this was a process of starting in a place i knew was important to me and then peeling off the parts that were not helping the message or expression over time

-Is there anything you could tell us about the significance of Borson Reems? I feel like he's more than just another Buck Trungle/Chuck Tangle/etc but I'm not sure what exactly...

yes borson reems is god. not that i believe in GOD in the way that most buckaroos talk about god (i am agnostic) but within the tingleverse, borson reems is an avatar for the creator of that world. technically i am borson reems, because i am writing the books. the question is: are we all the gods of our own little worlds that we create? i do not know, but when i look around at my buds and the joy and love they bring to various timelines they sure seem like gods to me

-A lot of no-sex tinglers (especially ones that aren't romance-focused) vary in terms of plot and structure a lot more than erotic tinglers. Is your writing process for these stories any different?

same process actually, but the sex scenes in tinglers are about 1500 to 2000 words long, and total tingler length is 4000 words which means if you are not including that portion you are going to have to come up with some creative way to fill that space in the story and a new axis for story to turn on. so the variety comes from me getting creative and trying out different axis points

-In "Not Pounded By My Book "Pounded In The Butt By My Non-Fungible Tingler That Is Literally This NFT" Because Of The Current Catastrophic Environmental And Ethical Impact" there are references to an earlier draft of the story that was never released because you ended up disagreeing with the message. Are there any other tinglers that never got finished and/or published, if you'd be willing to talk about any of them?

oh this is a VERY good question. the story of the NFT tingler is that when buckaroos were first talkin on nfts online and nobody really knew what they were, my first thoughts were just ‘oh this is interesting what the heck is this?’ this is my way with most CURRENT EVENTS. and i thought ‘this would be an interesting tingler, i suppose maybe i should make the tingler an ACTUAL nft’. this was in VERY early days so i did not really even understand what an nft was (neither did 99 percent of buckaroos yet honestly). so i looked into it just enough to actually MAKE a nft tingler that was a real nft and put it out. lasted for about thirty seconds before buckaroos were messaging saying ‘oh this is bad chuck you should look into what this is’ and i DID look into it and thought’ oh yeah this is terrible nevermind’. i took down the original and thought ‘well THIS is what art is all about. this is where i thrive in a world of moving living art that is in communication with itself’. so i dove into the research and actually started to understand NFTS and then i repurposed the story into a strongly anti-nft tingler and put that on out instead.

as far as OTHER tinglers that kind of move and breathe and live like this, in communication with the audience, GAY T-REX LAW FIRM is another very good example. that one i wrote early on and i think it was kind of in the model of something like fifty shade of grey, where issues of kink and consent and communication are not really handled well. i think at the time it came out the story was okay, but as time went on it always kind of bothered me and finally i thought ‘i love art that exists in the REAL WORLD and changes and evolves, so lets rewrite that story and fix some of these mistakes.’ honestly it is something i wish more artists would be open to. its okay to let something hold strong against a changing timeline, but it is also okay to explore what its like to take the notes that time gives us

-This one is about Chuck Tingle that exists in deeper layers of the Tingleverse that operate on tingler logic: what does the location inside his/your butt look like?

probably a nice mid-century modern home up in laurel canyon neighborhood of los angeles. kind of quiet and small like a cabin but also very cozy, like the kind of place where you would put on a crosby stills nash and young record on vinyl and gaze out into the woods for a while then walk down the hill for dinner at a little cafe where you spot some actor from a 60s tv show also having dinner in the corner booth. this basically sounds like the start of a tingler and in that tingler i will say the actor would be a bigfoot.

-OK this one is very self-indulgent but if you could help settle this frequent point of discussion I have with my wife- where do the following fit in the Tingleverse bigfoot/dinosaur/unicorn/living object(/human/does not apply?) taxonomy?

-a ghost of a regular human

-a regular human vampire

-a human/fish mermaid

-a sentient winged horse

-a sentient centipede large enough to wrap around a mountain several times (she is handsome)

alright lets trot through these. a GHOST is not one of the four tingle types so you can have a ghost racecar or a ghost unicorn or a ghost bigfoot. ghosts are outside of the four types and do not have a classification

a VAMPIRE is also outside of the four types. so you can have a vampire bigfoot or, of course, a vampire night bus. does not strictly fall into any of the four main categories

MERMAIDS are technically a long lost species of unicorn I DONT MAKE THE RULES I JUST EXPLAIN THEM. this makes the MERMOPED tingler a little confusing but i had to pick a category and that one went into living object. now that i mention it possibly the only tingler that is technically a double category of unicorn/living object.

WINGED HORSE is easy, thats a pegasus which is a species of unicorn just like a mermaid

a SENTIENT CENTIPEDE LARGE ENOUGH TO WRAP AROUND A MOUNTAIN is an ancient creature, therefore dinosaur tingler

-My other self-indulgent question: do you have a favorite bug? (Or second-favorite if you count Mothman as a bug)

i love finding spiders in the house and giving them a pet because they are doing a good job livin their lives doin their thing. close second would be a pretty ladybug

-Any thoughts on what tinglers will be like in 2025? Do you expect to be writing a lot of political tinglers again, like post-2016?

honestly i really do not like writing specifically political tinglers anymore, and the amount that i write has gradually dropped over time (i think ALL tinglers are political but in a different way). so honestly i think i will write a few political tinglers but not many. my hypothesis on this is that my HORROR NOVELS are very very political and so maybe i get a lot of these ideas out of my system that way now. when it comes to tinglers i just wanna explore my OWN mind and heart and butt more

THANK YOU for these wonderful questions and thank you for your tingler-a-day project it was so moving and powerful. what a treat it was an honor to be a part of something so beautiful. THIS PROVES LOVE IS REAL

[lyricthecat-12]

I urgently needed to talk about the last scene between Sonic and Shadow in the third movie, because I think what they did is simply beautiful. 🥹💙❤️🖤

Before Sonic 3 came out, there was debate over who would be the one to change Shadow's mind since at that point, there was no solid indication that Amy or Rouge would appear. I was a fan of the idea that maybe they'd have Jojo be the one to remind Shadow of Maria's wish, since she was an established character from the start and fits the profile like a cheerful, caring, and optimistic girl.

However, seeing that in the end they made it so that Sonic was the one who talked to Shadow and convinced him to fight to save the world, surprised me and at the same time fascinated me infinitely more. Because they managed to make the change organic by connecting it with narrative elements that were also raised and developed from the beginning; Sonic's grief over losing Longclaw and his paternal relationship with Tom, making this moment something special and significant for both of them:

It is a moment of connection and understanding between two people who have lost the person who was once the most important in their lives, who loved them when no one else did and gave them a home,

That for a long time they had to deal alone with the pain and guilt of having been the trigger for their deaths but, as they emphasize in the film, While Sonic was able to find a family that would love him and help him get better and cope with that pain, Shadow was alone and the only person he interacted with after awakening, only manipulated him in order to fulfill his revenge.

Until this moment, where Shadow finally meets someone who not only knows his pain perfectly but has also learned to move forward and not let it corrupt him even in the most difficult moments, and who in turn motivates him to do the same.

All of this contributes fantastically to their connection, as it is no longer just that their personalities and ways of acting are opposite, but also the way in which their stories correlate and at the same time distinguish each other, creating a new and emotional parallelism between them: They are two sides of the same coin, two extremes that ultimately come together to bring out the best in each other.

Which is beautifully reflected throughout the final battle. Sonic and Shadow display effortless synergy, supporting each other, backing each other up, and even casually joking around.

A good reminder of the great chemistry and dynamism they used to have years ago. Unlike now that they make it seem like Shadow barely tolerates Sonic, before they both had a friendly rivalry where they respected each other, valued each other and helped each other without problem. And I'm really glad the movie brought back some of that dynamic and reflected it in such a natural and fun way, and I hope that continues for future SCU projects instead of sticking to the current direction.

And I'm not just saying this because I'm a fan of Sonadow, but because I genuinely believe that this is the most natural direction for their relationship after all this time.

[captain-kit-adventuress]

I haven't read any cozy fantasy, to be fair, but because these posts are mostly talking about the fundamentals of good writing while the fundamentals of cozy fantasy are taking more of a backseat, I feel comfortable throwing in my pov. I agree with all of the above, but I think we should probably add on discussion of why tension works even when stakes are low.

Given all of the GBBO mentions, let's liken writing a story to baking. So what differentiates a cake from bread from a biscuit from [insert thing here]? Mostly ratios. Cakes and breads and biscuits are all made with the same fundamental ingredients, for the most part, but the ratios of each differ greatly between them, as do some of the techniques used. A more traditional fantasy is mostly plot-driven. That's one ingredient. Of course, you still need character and setting and all the rest, but because a traditional fantasy tends to use a big window into its world, you'll need lots of plot and worldbuilding in the mix. There is The Quest or The Prophecy or The Villain's Downfall or The Hero's Redemption or whatever, and these kinds of story tropes require a lot of moving parts to get to the end. Character is still important in a plot-driven book because it will enrich whatever that plot is, but the big window you're opening will swallow up the characters if you're not careful to get the other ratios just right.

But a cozy fantasy isn't like that. The window is much smaller, and so the ratio of ingredients necessarily has to change. Tension vs stakes is a great way to think about that ingredient mix, but when you're shifting your main base, you also have to shift the ratios of the other ingredients or it's going to turn out wonky. With a smaller window generally comes a smaller (though no less important) story. We don't see as much of the world in a cozy setting, so focusing too much on worldbuilding might crowd out the other elements in the story and overpower them. What tends to fit well in a smaller window is character. But if you want to create tension instead of stakes--and it is incredibly important to know the difference between the two, as the above post illustrates well--you can't rely on plot so much. Tension is all about character.

The reason tension works in GBBO is not just because the characters care about the outcome, it's that we bond with them and care about it also. We want it to go well for them. (Or at least, go well for our favourites lol.) So with bland, uninspiring, nothing characters, even introducing tension isn't going to work well if readers have no reason to root for your characters, and wanting to see good in the world just won't cut it. In the case of the fantasy coffee shop idea, why do we care that this coffee shop survives? What makes the character care? What is the thing (or things) that makes the character get out of bed every day to run this shop? It doesn't have to be a big reason, either. It's not like it has to be to honour the memory of their dead mother whose dying wish was to own a shop like this, it needn't be dramatic. But it does have to feel like a real reason this person would be so motivated.

A different cozy genre that does this well is cozy mysteries, and those are all about characters. We always know there's going to be a murder (or at least the appearance of one). So that part of the plot is taken care of. What the author of a cozy mystery must do, then--besides solving the mystery--is tell us why that murder matters. The only question an author needs to answer before writing a cozy mystery after they've answered whodunit is why they did it. And you can only do that through the people that are still alive. The worldbuilding may contribute to it, but the murder doesn't matter except as it relates to the ones who are left in the aftermath.

Something I've noticed in recent years is that some authors are starting to approach independent stories like they do fanfic. To some extent, that's fine because good writing is good writing is good writing. One of the biggest differences between independent stories and fanfiction, however, is that fanfiction doesn't need a reason to exist. You can write that cute scene with no stakes and no tension and people will read it because it's like a deleted scene from the original, and it has all of the canon to support it. The existing canon is the primary reason fanfiction exists.

Independent stories are not like that. They must have a reason to exist outside of "this is cute and I like it." We readers don't have access to the world in your head in any other way than through the published material, and it's an author's responsibility when writing independent stories to give us that access. You have to show us why we should care, and if you're spending too much time worldbuilding and plotting and dialoguing and not enough time making us care about the people in the story, we're not going to be any wiser at the end, and tension vs stakes vs anything else isn't going to matter.

Cozy Fantasy and Why It Doesn't Work

I think I am among many who feel like they should love cozy fantasy and have found it an incredibly lacking genre.

This newly branded "cozy fantasy" genre that has taken readers by storm since 2020 and while it is new that books are now marketed as cozy, the genre itself isn't new. Howl's Moving Castle by Diana Wynne Jones is a great example of the genre before it was labeled and also how to make it work.

Cozy fantasy is defined by many as fantasy with low stakes. Fantasy aesthetic but less sword fights. On paper, it sounds great. But the execution has been less than stellar for readers like me. The lack of physical stakes has also impacted the emotional stakes of these books, creating forgettable characters with boring problems. As a romance reader, I find this frustrating. Romance is known for being a predictable and formulaic genre, the now defunct Romance Writers of America defined romances as needing happy endings, a term romances have continued to follow. Yet these romance texts manage to have low physical stakes (how to date your neighbor, how to confront your toxic friends, etc) while still maintaining high personal stakes that keep readers invested and begging for more. So I was initially confused why cozy fantasy authors struggle to write texts that connect to readers like me.

I think I have found the answer which is the genre is just here for vibes. It is all about aesthetic, not even worldbuilding that fantasy is known for as most cozy fantasy I read have so many problems as soon as you ask one question. It is hard to acknowledge that a genre that is pitched to work for readers like me doesn't work for many of us. Especially because occasionally there is one that works beautifully to my taste.

I often say my favorite cozy fantasies that are more contemporary are short and visual, which I plays into the idea of the genre being an aesthetic. The Bakery Dragon by Devin Elle Kurtz is a good example because it is a simple story that is given the perfect amount of pages and gorgeous visuals without dragging on when the message is very clear and easy to understand. Books like The Phoenix Keeper and Legends and Lattes have absolutely nothing for me, their very clear message hitting the reader over and over so the readers don't miss it and focusing on the aesthetic of worldbuilding rather than the reality of the fantastic elements within the world.

I guess my point is. . . I realize this genre isn't for me since I have realized it is more of an aesthetic than anything. .. .but I want it to be. Should I let it go and put my efforts elsewhere? Or should I keep exploring this new trend and find the hidden gems?

[literaryvein-reblogs]

Writing Notes: Elements of a Good Scene

Scene - a section of the overall story that contains its own unique combination of setting, character, dialogue, and sphere of activity.

For instance, if a story opens on a scene where the main character is talking to her best friend inside a coffee shop and then they move out to the street, this means the opening scene has ended and the next scene has begun.

But changing location is not the only way to make a scene end.

If the third-person narrator in the above example had remained focused on the coffee shop after the two initial characters had left, that would also have signified the end of the scene.

Then, when two new characters enter and begin their own conversation, a new scene starts. In fact, you could craft an entire series of scenes in that one location, simply by shifting characters or the course of action.

Elements of a Good Scene

If you’re considering the craft of scene-writing in fiction for the first time, you’ll want to analyze what elevates a good scene over the type of scene that’s superfluous or just poorly written. When writing fiction, strive to create scenes that have the following elements:

A good scene has a specific storytelling purpose. This could be an inciting incident, a flashback, a love scene, or a riveting action scene. As you go into writing a scene, as yourself: What does this scene accomplish?

A good scene provides valuable information. Carefully pace out your reveals so that each scene brings a small piece of new information to light—such as a main character’s backstory or a rival character’s thoughts and motivations. These subtle reveals shift the course of the narrative—sometimes subtly, sometimes dramatically.

A good scene offers a point of view. Typically this will be that of the narrator or of a carefully chosen POV character. Knowing the purpose of the scene will help you choose a point of view.

A good scene enhances character development. When possible, use each scene to deepen your readers’ understanding of your protagonist. Put your character into situations that force them to reveal their true colors. Use obstacles to challenge and test them. Give your character the capacity to grow and change.

A good scene contributes to worldbuilding. Worldbuilding is especially important early in your novel, but every scene going forward can layer more detail onto your setting and reveal new, previously unexplored corners of your fictional world.

A good scene shows without telling. When it comes to exposition, follow the “show, don’t tell” model that values action over explanation.

A good scene has a distinct beginning, middle, and end. The beginning of the scene should ideally establish its setting and relevant characters. The heart of the scene should contain action (which can simply mean active dialogue) and showcase the motives of the characters. The end of a scene—particularly a long scene—should start a transition into whatever comes next in your story.

A good scene is like a novel in miniature. To really make a scene pop, you need to complete a compressed story and character arc, like a miniaturized version of an entire novel’s arc. If you’ve reached the last paragraph of your scene and you haven’t completed such an arc, go back and revise. While they may not be able to articulate it, readers have an inherent sense of when a scene ends in a satisfying manner and when it does not.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[lkblackham]

Had the image of a half human, half Qunari baby pop in my head and got some good therapy practicing drawing cute babies.

Being the child of a nurse-midwife, I have witnessed many births and many different kinds of new dads (on video, to be clear - my mom didn't drag me around to births in person). And so, it is my belief that Emmrich would definitely be the weepy type of new dad. I love those dads.

My personal fanfic headcanon stuff that may or may not be cringe, I make no apologies:

1) Qunari kids, much like goats, do not fully grow their horns until they hit puberty. Which is definitely for the best, because a) birth OUCH and b) can you imagine a hyperactive 2-year-old running around with what amounts to two giant spears attached to their head?

So for the first 12+ years of their life, they just have cute lil forehead nubbins that still really hurt when they headbutt you during a tantrum.

2) It's a girl. Because we all know that Emmrich has strong Girl Dad energy.

3) Atash and Emmrich had a really tough time with names - both given names and surnames. Atash isn't particularly attached to her surname (Laidir) and so was totally fine with just 'Volkarin' for their kid. Emmrich was insistent on including 'Laidir', however, as he felt very strongly about Atash's heritage and story sharing an equal part with his in naming their daughter. So she's got 2 last names - one for Nevarra and one for Rivain. She can pick whichever she prefers, or neither, or both. What matters is that both are there to begin with.

This line of thinking also, obviously, complicated the given name. It's really hard when you're pretty certain this is going to be your only kid, and you're from two very different cultures with their own ideas about names, AND you have a rather tragically long list of people you love who have passed on and deserve to have a child named after them. Not to mention, both of you have names you just personally like, saved away in your head just in case you ever did have a kid to name.

In the end, Atash and Emmrich came up with a compromise, for which they really hope their daughter won't resent them in the future: they gave her *four* names. One for a family member, one for a fallen friend, one for her Qunari heritage, and one that's just hers and no one else's.

So, all together, it came to:

Lobelia Elannora Lace Nazay Laidir Volkarin

It's. It's a lot. Atash and Emmrich both acknowledge that. But it felt wrong to not include those tributes in their daughter's name.

Besides, this just means she has a lot of options, right? Right? Right. Definitely.

(They also acknowledge that Lace Harding would think this was absolutely ridiculous and laugh at them over it, but that mental image being there is part of why they did it)

And yes, of COURSE they chose a flower name.

4) Manfred is really friggin excited to get the chance to watch someone grow up and maybe teach THEM some things himself. Emmrich is really friggin excited on both a personal and academic level to raise his daughter alongside his ward, teaching her about spirits while Manfred learns from her about mortals.

Manfred's also a really great diaper changer because he doesn't have a nose and he's not squeamish about literally anything.

(Not that Atash or Emmrich take advantage of this.)

(Often.)

BY THE WAY, VERY IMPORTANT NOTE: I do not believe that the default Happy Ending for everyone is having kids. In another universe, Emmrich and Rook are just as happy teaching Manfred how to be a person and mage (or not, if Emmrich became a lich) and going off on their own kid-free adventures. YOU MAKE THE CHOICES THAT ARE BEST FOR YOU and fuck what the tropes say.

This is just *my* fantasy cringe fluff. You do you. ♥️

[puckinghischier]

hi there, English is not my first language but I hope you will understand me.I have a request for a nico one shot about reader being in a friend group and slowly getting left out and eventually getting replaced. at first she didn't tell nico bc she didn't want hit to worry but neeks slowly noticing a slight change in a reader behavior and ask reader what's wrong. at first reader don't want to talk about it but at the end the whole bubble breaks and reader is sobbing and crying in Nico's arms. I hope you understand what I mean.Btw i LOVE all your fanfics, I hope it's not too long, thank you in advance ❤️❤️

he had noticed the slight shift in your routine. suddenly you were home more, a little clingier, asking if you could tag along with him and the guys more often. none of which mattered to him. if anything, nico loved the extra time spent with you. but you just seemed…sad.

he realized you hadn’t mentioned any plans with your friends recently, at first just chalking it up to him being on a stretch of home games and you wanting to spend your time with him before he had to leave again. but when he was on the road for the better part of a week, and you were home, in your pjs every night he called you, he knew something was up.

“schatz, can i ask you a question?” nico asked you after dinner one night, having sensed your overall demeanor was off all day.

“sure, you know you can always ask me stuff,” you turn to face him, leaning into the plush couch.

he thinks about how to word his question without sounding accusatory or like doesn’t enjoy the increased time together. “well…i’ve just noticed, you’ve been home a lot more lately and i haven’t heard you talk about the girls much recently. is there a reason? or are you just so obsessed with me you can’t bear to be apart,” he tries to add humor to offset the serious connotation of the sentence.

your body goes rigid, surprising him. you won’t meet his eyes, your hands coming together to pick at your fingernails. he watches the tears prick at your eyes, alarm bells going off in his head.

“i-, no, it’s nothing. just, no plans lately,” you say, voice strained, still not meeting his eyes.

he watches your lip tremble, knowing there’s more to the story, but not knowing if he should push the issue or accept the answer. he brings a hand over to rest on your knee, rubbing his thumb back and forth in a soothing motion.

“okay, i was just curious. didn’t know if something had happened or if you just wanted more nico time,” he chuckles, trying to relieve some of the sudden tension, no humor found in the situation.

his attempts were futile, because the second the words left his mouth you broke down, falling forward into his arms. he held you as you sobbed on his shoulder, slightly shocked at the sudden outburst of emotions.

“hey, shhh. it’s okay, sweet girl. i’ve got you, okay? i love you,” he tried to reassure you, lifting you to fully sit on his lap. he let you purge whatever emotions needed to be let out, not pulling back from the tight embrace until you did.

he’s met with your puffy, red eyes. he can feel the wet spot on his shoulder, but ignoring anything that isn’t you. brining his hands up, he wipes away the wetness on your face, squishing your face together while pulling it forward slightly, giving you a salty kiss.

“you know i love you, right?” he asks you as he pulls back from the kiss, earning a small nod of your head.

“i love you too,” you rasp out, bringing your own hands up to run down your face, wiping your own tears. “sorry about all that i just…been holding that in for awhile.”

nico removes some hair that was sticking to your cheek, shaking his head. “what’s going on, sweetheart?”

you take a deep breath, suddenly embarrassed. “it’s stupid, really. i mean, i’m a grown woman, i shouldn’t be upset over something so trivial,” you start, a humorless laugh escaping you.

“no, we’re not doing that. if it’s making you feel like this it’s important, it doesn’t matter what it is,” nico responds, slightly scolding you. “just tell me, maybe i can help.”

you smile at his words, heart swelling with love for the man in front of you. “well…basically i don’t think i have friends any more? i mean, i don’t know. for the past few weeks i quit getting invites. i thought at first maybe it was a lull in plans with the whole group, but when i saw them posting they were out for drinks one night and i checked the group chat to see that the group chat…didn’t exist anymore, i realized what was happening,” you start, shrugging.

“i messaged each of the girls individually, but no one responded. then it turned into taking digs at me in their captions on their pictures from dinners, nights out, events i was never invited to. no one ever told me why. or if i did something. one night we were at the bar grabbing dinner and drinks while you were on the road and the next, i was booted from the group chat and never to be spoken to again,” you tell him, knowing it’s all over the place and confusing, but it’s the truth. one night you were laughing and chatting with your best friends. the next, you were sitting alone at your apartment, watching them get together without you.

“it’s so middle school mean girl coded, but even at 24, it hurts. i know i don’t need those type of women in my life, but they’re my friends, neeks. at least…i thought they were,” you started tearing up again, feeling nico squeeze the hand he was holding.

nico’s heart breaks for you, knowing how much you loved your girls. he can’t imagine who, in their right mind, would just kick someone as caring, sweet, and loving as you out of their life for seemingly no reason.

“oh, my sweet girl,” he brings you back in for an embrace. “you’re too good for them, you know that?” he tells you, meaning every word.

he always had some issues with your friend group, but he never voiced his concerns, because he didn’t want to upset your or seem like he was being controlling. he could tell they were always just…off though. always wanting to tag along with you to hockey games, wanting a box when you told him you liked sitting down in the crowd better. they always changed plans you suggested, doing what they wanted instead of what you wanted. only ever wanting to attend get togethers at yours and his apartment if other guys from the team were gonna be there.

“it just sucks, neeks. i mean, how pathetic? i’m a grown woman who has no friends and her only social life revolves around her professional athlete boyfriend? i feel like such a leech,” you admit.

nico sees red, wanting to go and give all of those women a piece of his mind for how they’re making you feel.

“listen to me, don’t you ever say those words to me again, do you hear me?” he fusses at you, as serious as he’s ever been. “you’re the farthest thing from a leech. i want you around me all the time. i want you to tag along to every event, every team outing, every game. i enjoy spending my time with you, and getting to have you to myself every night.”

your heart swells once again, having been worried lately you were being too clingy.

“those women? they’re the pathetic ones. if they can’t see the absolute gem of a person they had around them, then they’re the ones who should be ashamed,” he looks you in the eyes as he speaks, willing your brain to soak in and listen to every word.

“i love you,” is all you can think to say in response, not knowing how else to express your feelings in the moment. you lean in to touch your lips to his, wishing to convey every ounce of thankfulness, love, and appreciation for him through the kiss.

he kiss you back softly, pulling back after a few moments.

“so, now that that’s settled, you wanna go out for drinks with me and the guys tomorrow? think a few of the other wives and girlfriends are coming, too. might be fun?” he asks you, already concocting a plan to find you a new, trustworthy group of girl friends.

“hmmmm, let me check my schedule, i might be booked and busy,” you joke, his words having made you feel light as a feather, any sadness working its way out of your body.

he rolls his eyes at you, letting out a playful growl as he attacks your neck with kisses, earning a laugh out of you.

[thisisntmyrightera]

Together - CHO HYUN-JU x Fem Reader *VOX POPULI*

Hello again, if you are here it is because you have liked the fanfiction, I appreciate your comments and the time you have spent reading, however your opinion is important to me, so I want to hear you.

As you know, season two was exciting but somewhat short and although I want to include more content about Cho Hyun-Ju I do not think this story can last more than 5 chapters, however…

I have 3 endings in mind for this story which I would like to explain briefly (so as not to spoil) to know your opinions, in the same way I would like to read your opinions and ideas to make this story more exciting.

1- Y/N gives her life for Jang Geum-Ja (149) Y/N can't stand Park Yong-Sik's suffering when she sees his mother outside the room in the carousel game so Y/N switches places with her to save her

2- Hostage of the guards After the start of the riot where Seong Gi-Hun (456) and Cho Hyun-Ju take up arms with the other contestants to attack, the boss sends the guards to take Y/N as a hostage to show Hyun-Ju the consequences of disobeying the rules.

3- After all, nothing is what it seems Cho Hyun-Ju reveals her true identity and although Y/N ​​distrusts her for lying to her, the game ends and they can both live the dream they both wanted together.

All three options are viable to be edited and although the explanation is brief, they do not contain the ending that you might think they would actually have, maybe Y/N can die, maybe not.

I would like to read you and know your opinions, I am an open book to you.

Thanks again for reading, you make me feel much better at the beginning of this year, I will be back soon

Tag List!

@kuureii @sann1e @sunflowers-are-heaven @bridellashiper @etta-huracan @cupiid1 @alianacelinecolux @juliexz @duchcess @

[whywouldisayprinter]

It's thinking about reverse age Batfam kids/ Robins hours.

Like. It just. Shifts all of the dynamics and especially Bruce's character, but it still is so wonderfully cohesive!

Let's start with Damian.

Bruce is in his mid-twenties, going strong and building a rapport as Gotham's protector when, one day, Talia al Ghul rings on his doorbell with a tiny 7/8 yrs old shadow. It's their son she says. His heir and apprentice, the shadow, Damian, says.

Damian is well trained, as stubborn as his parents and determined to follow his father's footsteps, so Batman gains a Sidekick. A sneaky little thing that seems as much as a mythical creature as its mentor.

After some time, a new kid falls into Batman's path. Duke is bright and righteous, and if Batman didn't decide to train him, he would lead his tiny gang of determined children right into the thick of it without being able to make it through. So Batman trains him, even though Duke returns to his home at the end of the day.

There comes a time when Damian is restless. He wants to train with different masters, go on missions with his team, and make sure that one day he is worthy of being Batman's successor. So he leaves the cave and Batman without a sidekick.

That is until Bruce stumbles over a tiny stalker with absent Parents, who knows their identities. Tim is quick to learn and just as sneaky as Damian and while Damian is proud of his ability to match batman in a fight, he hates that this new kid seems to match Batman's abilities as a detective, even surpass them. Until Tim Drake, Heir to Drake Industries, gets an assassin send after him, and kills him in a frantic fight for survival. He crossed a line. The line. So Bruce sends him home.

Then the Joker decides that this little detective is just so fun, not as stuck up as old Batsy and wouldn't he like to be Jokers sidekick instead? No? What a shame. Especially as his parents just so happened to be in. A bit of a pickle. You see it was easy to kidnap them on their way back from the airport and are you sure you don't want to join the Joker? A well, have FUN at your little family reunion then.

Tim dies laughing against his will.

A few months later, Batman gets hit by a brick in the back while punching a purse snatcher black and blue. Steph is angry. Angry that her father rots in jail. That she wasn't fast enough to safe her mother. That Batman almost killed a guy who was just trying to survive. Angry that Batman is dishonoring Tim in such a way. Her friend would hate to see what his mentor - dad. Almost- became, so she decides that she will make sure Batman stays in line.

She is at his side for almost 4 months, bothering him with a sharp tongue and burning criticism, keeping him upright and most important, himself. Then Batman finds out she's pregnant. He benches her. Of course. She hates it. She hates that she can't argue against it. That it makes sense. That she can't help people anymore and be in the thick of it. Can't keep her Baby and her role as a protector of Gotham. Her family is understanding. They all know the itching under your skin. The burning need to go out at night. So they try to help her. Alfred is the one to suggest turning her focus to the Wayne side of their life's. To use her knowledge of the streets and poor parts of Gotham to help the money flow to where it's needed. She grumbles. But takes the opportunity.

Jason's story stays almost the same. What else is there to do than be a ballsy little kid in the face of Batman. Than to bare his teeth in the face of danger. He's only supposed to stay at the manor for a few days. Until the system could find a better, long term place for him. In the matter of hours Steph and Jason become inseparable. He looks at her like she hung the stars and she regales him with greatly exaggerated stories of her time as Batman's sidekick. They all know that Jason isn't going anywhere after that and Batman needed a new sidekick anyways. (Jason takes his, from Steph appointed, "Batman Wrangler" Job *very* seriously)

Several years later, there's a new player on the field. Cold calculated and able to stay three steps ahead of Batman. The Joker dies. The head is mailed to Wayne Enterprise. A gift, the card says, from Drake Industries. A promise, a threat, for flourishing business relationships. The Joker is dead. And Tim Drake has returned. (Deep deep down in the shadows of Gotham a court of Owls welcomes their newest member. They're like spun sugar, wrapped around his finger)

Darkseid happens. There's a letter addressed to Damian Wayne. A letter telling him that Bruce isn't dead. There's only one person who could have the resources to prove that claim. Prove that the research and theories are indeed fact. So Damian faces his heritage.

When he returns from the League, it's with Bruce Wayne and a shadow. A tiny girl named Cassandra. It takes some time for him to notice, but he wasn't raised by the Bat himself to be unaware of his surroundings. So Damian helps. He sees himself in Cass, a warped and distorted "what could have been". If he wasn't the heir to both the Demon and the Bat. If his parents were just a bit more cruel.

After everything it all ends how it originally began. A visit to the circus. A daring show of skills. A snapped line. And an orphan. Dick Grayson joins the Batfamily, the Waynes last. Hurt, angry and demanding revenge for his family. They all know what it feels like. They all know how to deal with a tiny child with big emotions. He stays. He is loved. And with some time he's no longer angry. You can't be angry when you're an uncle afterall.

[bwat5-blog]

Breaking The Cycle: Silco and Jinx's final talk

**Spoilers For Arcane**

The relationship between Silco and Jinx is wonderfully complex and dark. Father and daughter, teacher and student, but also haunter and haunted.... People love both of these characters and rightfully so. Even Silco who I have been so harsh on is a wonderful character in his own right. Brilliant, well spoken, and so tragically twisted he cannot see how lost he has become. Jinx, for her part, is the story of a little girl whose mind is ripped apart by the violence around her, and how through her own strength as well as the love and support of those she meets along the way reclaims her soul in the face of overwhelming loss.

What I want to talk about today is this discussion between "them" in the second to last episode of the series. I have done so in a few small ways over the last few weeks but never as a focus. And every time I have been surprised to read some of the thoughts and responses to this scene. So, to that end. I thought it merited a good focused look. To any who take the time to read, thank you so much. I hope you get something out of this like I do!

How We Got Here:

Okay, we are here to discuss that scene, but that is almost at the end of the show. I have written quite a bit about both Silco and Jinx, and their relationship. Therefore I am not doing a complete and total deep dive here regarding their past. But, as I like to say context is our friend. So to understand this moment, let's at least do a quick rundown of what lead to it.

Silco, Vander and Felicia were all very good friends in Zaun when they were young. Silco and Vander were the primary architects for the idea of Zaun but Felicia was very close with them. Silco and Vander swore an oath to create a safer Zaun for Felicia's unborn child, who of course is Vi.

Sometime after Felicia's death during their revolutionary activities, Vander blames Silco and almost kills him. Leading to their complete parting of ways, Silco losing an eye, and Silco completely reinventing himself from that pain and anger.

Taking revenge, Silco abducts Vander and causes the deaths of Sheriff Grayson and Benzo. During the attempted rescue of Vander, he tries to have Vi killed, and through his actions causing the scenario to begin with is responsible for the deaths of Vander, Mylo and Claggor.

Silco takes Powder for his own and raises her as his daughter. Teaching her to weaponize her pain and anger until she starts going by Jinx and becomes a part of his operations, spreading Shimmer and fear and death throughout the Undercity.

Silco is killed during Jinx's mental breakdown while trying to convince Jinx to kill Vi instead.

Now, a few things of note moving forward regarding their relationship that are very important:

Silco Did Love JInx- Despite the darkness of their meeting. I do think Silco loved Jinx as his daughter. He is shown to be very patient and defensive of her. He is extremely distraught when she is dying on the bridge after her fight with Ekko and even more so when it seems Singed may have killed her.

That Love Was Completely And Totally Toxic- As I stated in the beginning of this document I am not doing a whole run-down on their relationship again demonstrating Silco's influence. But for a quick example; Silco knows Jinx carries a tremendous amount of unresolved trauma over losing her family. She thinks Vi is dead. Silco finds out Vi is alive and the only thing he tries to do is kill her before she can find Jinx, to prevent losing her himself.

Jinx Loves Silco- At the end of the day, regardless of how their story together began, Silco matters to Jinx. She was with him during her formative years. She was so young when Connal died she probably barely remembers him. And she has mentally distanced herself from Vander as a father figure to protect herself. (I'm not saying she doesn't care. See almost all of season two as proof that she does. I'm just saying they don't have the same bond as they might have if things had gone differently. That's all).

Life Without Him:

In the wake of Silco's death, Jinx is alone. She and Vi are worlds apart, Vander is dead, Silco is gone, and the people of the Undercity fear her. But as the story develops she starts to come back to life, little by little. Growing "closer" with Sevika, Isha coming into her life. These things and more slowly start to open her world in a way that is more than death and destruction, especially when she reconnects with Vi.

But we do see hints of how Silco's legacy influences her.

Life With Isha-

In the months since the battle against Vi and Caitlyn, Jinx has found a measure of piece in living quietly with Isha. She stays out of the public eye. She has not fought against the Noxians or Enforcers. Her whole life is with this little girl who quite literally fell on her. And while of course there are bigger things at work, and we understand that this small world she has made for herself cannot last, we need to remember how we left things with Jinx. On her back, urging Vi to kill her. So how does Silco's memory intrude?:

Sevika comes in, wanting Jinx to take part in their upcoming rally. And when Jinx refuses Sevika grows frustrated:

S- "Silco spent his whole life trying to rally the undercity together.. stupid joke that it is, you have the chance to pull it off."

J- "I told you, I'm not interested".

S- "Do you know how much he sacrificed to protect you?!.. he believed in your potential". (As soon as she slams her fist down Jinx starts breathing heavy, glitching, eyes wide)

J- "well then he shouldn't have died!"

Cut to Silco's former office...

"Still giving me the silent treatment"

We listen as Jinx speaks to the open air, spinning Silco's old chair. What it basically comes to is she feels she probably owes him being that symbol (the idea of her owing him anything is completely outrageous but we aren't going there right now), but is afraid of losing what she has with Isha. She says he should speak up if he wants her to be his rebel leader otherwise, he really is gone. And there is no reason for her to stay.

Isha Taken-

Isha being taken at the rally is what drives Jinx back into the world against her will. Back into the violence and the death. And why did Isha attend that rally? Sevika came and spoke of Jinx's responsibility. Of Silco's sacrifice. Now, let me totally clear. Isha is a wild-child and was already doing stuff at the checkpoints and painting images for the rebellion. I am not putting this on Sevika in turns of blame. My point, is that it all comes back to Silco. Silco's shadow slithered into her peace and now, it's gone. And as we see, in this moment he is not comforting, or reassuring as a specter. He is another mocking demon in a moment of loss.

So what does this all mean:

The death of Silco, while incredibly emotional and traumatic for Jinx, was the beginning of her freedom. Even in death, Silco's reputation, his legacy, his actions, they all cast a shadow over Jinx that she cannot get away from. The people of Piltover see the monster Silco made her into, the people of Zaun see her as his heir. The one who can unite the Undercity in glorious revolution. All she wants is to be with Isha....

She can't get away from it. And through plot, and visual story telling the show is NOT vague about this. "Still giving me the silent treatment" implies she has tried to talk to him since his death. When does she finally see him? When she is angry, and scared for Isha, and pushing back against the shadows in her mind.

I am willing to admit that it's probably just my dislike of him (again as a villain he is amazing but I'd chuck him in a meatgrinder in person). But the way I see that image above is that after Jinx tearfully said he needed to speak up or it would mean he was really gone in his old office.. here he is laughing at her in a moment of darkness and rage.

"Haha, you wanted me. Here I am"..

In the Bunker:

J- "go away.. you're too late" S- "oh, it's a hell of a place. It says something about the late Marcus that he found imprisoning your sister to be a greater mercy than killing her" J- "killing isn't mercy" S- "a spark of rebellion still burns inside that husk, I see. No. Killing is a cycle. One that started long before Vander and me. And one that will continue long after the two of you. J- "I'm done running in circles' S- We build our own prisons. Bars forged of oaths, codes, commitments. Walls of self-doubt and accepted limitation. We inhabit these cells, these identities, we call them us. I thought I could break free by eliminating those I deemed my jailers. But... Jinx.. I think the cycle only ends when you find the will to walk away".

Okay, we come at last to the scene I really wanted to dig into here. Jinx is in the Kiramman bunker, not Stillwater as some folks seem to have missed. She has lost Isha. She has just spoken with Caitlyn, she is quiet, and weak, and sounds so.. so exhausted. Her hair is undone, she isn't eating, and she has been picking at the skin of her fingers. She is truly in a very dark place.

But it is so.. so different than the darkness we are used to from her. There is no glitching, no fits of rage or empty pained laughter. For all the pain she is in and the clear, crushing depression, there is also a clarity she has not really ever shown. She apologizes to Caitlyn in her way, she finally can see how much Vi loves her and how much she loves Vi in return. In giving up, in surrendering all of those horrible battles in her mind and laying them down because she intends to end her life, she is seeing things more clearly than she has ever been able to. And it is in this state we get the above exchange.

Now, I have seen some various gripes about this across several places. Here are a few:

Silco has been reduced to being a pro-piltover mouthpiece.

By hearing it from Silco we are seeing jinx hasn't really progressed.

The scene doesn't make sense because Silco would never say this.

Regarding the accusations of character assassination of Silco:

Silco as his own character, including his own story, beliefs, ideals and values, is completely and utterly irrelevant to this scene. This is not about what he would or wouldn't do if he were alive, because he isn't. At the risk of stating the extremely obvious, Jinx is alone in this place. But even as far as she has come her mind is still not whole. So in this terrible moment of loss and pain as she is on the cusp of a realization that will change her life forever, who Silco was does not matter. He is simply the pencil her mind is using to write the lesson in a way she can understand.

Regarding the accusation that seeing him means Jinx has not learned or progressed:

This moment is without a doubt, one of the most important moments in all of Jinx's development to me. She is seeing Silco because for better or worse she views him as a father figure. He has become the lens through which she at least partially views the world.

Remember this?:

When Vi was hurt, and alone , and wanted so badly to give up it was Vander she saw and heard in her mind. So as Jinx is processing this revelation, that she doesn't want to keep being this person anymore. She doesn't want to keep killing, to keep running in circles, to be a revolutionary or a terrorist anymore and she just wants it all to stop this conversation is how her mind does this.

Take away Silco from this moment and what are we left with: Jinx realizing that the only way for the horror to end is to walk away.

Let the message come from Silco in its way: Jinx's mind freeing itself of Silco's influence and what she feels she owes him because he is telling her it's okay to walk away.

CONCLUSION:

In this moment, Jinx is essentially, giving herself permission to turn away from the pain and death of her history. Away from the guilt of who she has been and even away from the corrupting tendrils of Silco's legacy. She applies this same lesson to what she does with Vi, giving Vi permission to start living for herself again and stop dwelling on the pain of their past.

Now of course, what she does with Vi is based in love, and right now she has come to believe that she herself is not worthy of said love. There is no good version of her in her mind. And thankfully she is able to be pulled out of that darkness by Ekko. But what we are seeing here regardless of her plans, is the clarity to realize that as long as she and Vi stay shackled to their pain, it will just keep repeating over and over.

Thank you for reading, have a a great day!

**Y'all I know I repeat this every time but I think it's important. So much of Jinx's story is impacted by her mental health especially the state she is in during this part of her story. I AM NOT in any way, shape, or form a mental health professional. I am just a fan doing my best to understand what I think is one of the best stories and one of it's best characters in my lifetime. Thank you**

[jetsamsoul]

Open wide ~.ᐟ

A/N: guess who's baccckk...I was gone forever because I had to go to the depths of the ocean and drag Floyd back up for you all..true story not clickbait at all. (on a real note, I'm hoping to get back on that grind. Honestly.)

tags: Floyd Leech x gn!reader // very lightly proofread, messy bday blowjob, cheek tapping, deepthroat/gagging, swallowing, shrimpy nickname a couple times, basically Floyd is an idiot.

wc: 1.7k // ao3

It was well into the evening when you got a chance to catch Floyd one-on-one. No other students quivering through a birthday wish. Not a soul taking their chances to give him the presents he openly wished for. Or demanded, really. He had spent a large portion of his birthday exploring old, ‘inaccessible’ ruins aside Malleus, which had been his birthday gift to the mer. Even a small glimpse at the pair was a sight. An interesting and mildly frightening one. Now though, you would find him alone. Turned in for the night having skipped his shift at the lounge. Why work on such an important day?

You entered Floyd and Jade’s shared dorm room with three boxes carefully stacked in your arms. Two were meant for Floyd, the other for his twin. Floyd's head perked up from the book in his hands by the time you shut the door and walked to the end of his bed. The mer sat the book down, sitting up from his reading position. “aah-Shrimpy! Finally came to wish me a happy birthday?” he grinned, pulling you into a squeeze hug as usual after you set the boxes on his bed. “Sea Slug beat ya faaar to it ya know..”

“Yeah, I heard.” You rolled your eyes with a smile and a huff. You sat in front of Floyd on his bed, crossing your legs for comfort. It didn’t bother you that he was busy all day, but you certainly felt a hint of guilt. You wanted to have been with him in place of Malleus Draconia. It was definitely a gift suitable for Floyd...The prince had taken it very seriously to get Floyd the “coolest” gift ever.

“He took me out to these ruins.” He started, leaning back on his bed frame. ”Wish I could’ve brought Jade with me though, ya know? Feel like it's the type of thing he’d really enjoy.”

As Floyd continued to describe his day to you, his voice gradually faded out as you grew lost in thought observing the mer. You liked to watch the way his hands moved around when he talked, waving them around as if he hadn’t already had every ounce of your attention. That he allowed his hair to be less tame when compared to his twins. His choice of clothing like the sweats with colorful splatters on him now. The large hoodie he relaxed in looking so cozy, making you want to join him inside of it. His heterochromatic eyes that contrasted brightly against his fair skin, drawing your attention tenfold. Everything about him eased you in like a fishhook bearing the most appetizing bait. While his story went on, your hand massaged his leg and back. 

You wanted to do more for him. More than the gifts you had already brought for him. A gift that no one else would be able to bear for him. Something special. Intimate. To your luck, you already knew the privacy you had now would offer you enough time. Floyd’s voice was once again audible as you slipped back into the present moment, a minor grin sneaking across your cheeks. 

 Floyd raised a brow at your unknowing malicious expression, tilting his head centimeters to the side a piqued interest. “What?” his position adjusted upwards.  He bore a toothy grin, closing into your space as if he caught onto your plans before you could put a single thought into action. “What’s the face for?” You assumed he already knew. You hadn’t tried to mask your stares or cover up that you had been thinking about something. Placing a hand on his shoulder you leaned up, pulling him into a kiss. He smiled in the return, hands wrapping around you to force you closer. To further the closeness you brought your body up, spreading your legs to sit on top of his lap.  Between a break for air, you licked his jawline, kissing down till your lips met the outline of his collarbone. The mers hips pushed up into you, earning a gasp that put your eyes back on his. 

“So ‘s this why you came here to see me, Shrimpy?’ he eyed you up and down, presenting an eager look that you felt satisfied to receive. “you wanted to suck me off?”  His eyes widened with idea and without giving you a moment to reply he went on.  “Is it cause ‘ts my birthday?” his hand rubbed ` on your back as he waited, his other resting on your lower back.

You nodded to him, pressing your hands on his chest as a sign for him to lay back. Floyd caught on, leaning his back on the purple headboard behind him. You wanted to make him feel good. This would be one of the best ways to do just that. Your body followed his motion, laying your body close to his chest as you rolled your hips to create friction with his lap. Floyd's eyes were burned into your skin, you knew he was watching every move you made closely like a predator. Inching down, Floyd aided you by tugging down at his multi-color splotched sweats till his briefs were revealed alongside a distinctly growing bulge. The sight tugged a smile at your lips while you leaned down for your face to meet the tight fabric. Your tongue darted out to drag a stripe onto Floyd’s clothed cock, a repressed breath slipping past his lips. You rubbed his hard-on through the fabric, the mer watching you closely from above. Your thumb slipped under his waistband teasing the sensitive skin around his dick as your other hand rested on his hipline.

“C’mon..’js take it out already..” Floyd huffed, rubbing his hands along any bare bit of your body he could reach. “You’re gonna make it hurt..’ts not real nice to do on someone's birthday..” 

You glanced up at the mer for a short moment before focusing back on his lower half. Inching down the article, his dick sprang out as the briefs passed his thighs. You wrapped your hand around the base, immediately feeling a twitch on your palm. Floyd was always much more sensitive than you assumed him to be. All that fact did was rile you up more. You wet the rose-flushed tip of his cock, taking it into your mouth moments after. It was thick. Your jaw ached at the thought of keeping it in. Your hand pumped what didn’t fit in your mouth, extra saliva pooling at the end of your tongue. You started leisurely, listening to Floyd’s hushed groans of satisfaction. Your cheek bulged as you moved your head to the side, pushing him out of your mouth to catch a breath. You kept your hand busy with languid strokes to his length

“Ahh?” Floyd’s head perked up, his lazy eyes widening with amusement. “Can’t fit it all in?” He teased. In rebuttal you pushed him back into your mouth, holding back any reflex as your mouth inched down to meet the base of his cock. The mer above you hissed through his teeth, his leg moving up as he flexed his core to fuck his shaft further into your mouth. The movement forced a gag from you, your head instinctually retreating for air. You took in the precious breath, savoring it for the short moment it was before Floyd ran his hand through your scalp, gripping onto a chunk at the back of your head to control your movement. He led you back down, salty precum spreading on your tongue while Floyd held you in place to thrust into you at his leisure. In short time his pace quickened, his lengthy cock slamming continuously down your throat while you struggled not to choke on it.

Floyd moaned erratically from above, your throat convulsing around him as he pushed his limit. You pressed your hand on top of his lower stomach, pushing your mouth off him with a ‘pop’ and erotic gasp for air following. The mers eyes shifted to you as you kept your other hand tight around him.

“I’m gettin’ real close..” Floyd spoke with a whine, sitting up on his knees and taking hold of his throbbing appendage. “Do me a favor and get on the floor so I can have ya on your knees properly, kay?” he demanded, watching you obey his wish with ease. A grin smeared across his face as he sat himself on the edge of his bed above you, squeezing your face in his hand while the other lovingly tapped his erection on your cheek. “Alright, Shrimpy..Open wide~” Floyd snickered, swiftly slipping his cock into your mouth that fell widely agape the moment he asked you to. His hand that previously held your cheek shifted into your hair, fingers tightening around the base of your scalp to guide your mouth. You’re gagging immediately, the familiar feeling of being unable to properly breathe returning as his cock slammed against the back of your throat.

 You could feel your body reacting to Floyd, legs squeezing together as you tried to stay focused on him and not stick a hand down your pants. The vibrations of your explicit hums triggered Floyd’s hips to twitch desperately. His moans grew less controlled, breath held in his chest while you worked at his lower half. The mer gasped, hands squeezing the blankets surrounding him. “Fhh-ah-” His breath grew staggered, unable to finish any sentence he had started. He didn’t think twice about pulling himself out of your throat, his eyes shut tightly as he came what felt like straight down your throat. You took it all in, swallowing what bits had stayed in your mouth. After stilling for a short moment you pulled your mouth off him slowly,  licking at the leftover fluids on Floyd. He whined, sitting up properly as he stared down at you.

“Ah-? You swallowed allat?” he grinned, proud that he didn’t seem to taste bad.

You smiled, standing yourself up to lean in and give the mer a quick kiss. “Happy Birthday, Floyd.”

© 2024 JetsamSoul - All plagiarizing, translating transporting, modifying, etc. is prohibited.

[flamsparks]

So, I finished Veilguard…

…and I need to vent…

The text ahead is mostly spoiler-free. Minor spoilers are present (and marked)… and it’s quite long. Apologies for that…

TL; DR: Veilguard is not a bad game. It’s just a bad Dragon Age. BioWare made most decisions on your behalf, so you don’t have to. You’re a hero in shining armour (mandatory), surrounded by NPCs in various shades of vanilla, immersed in a non-existent lore, having conversations that swing between generic and cringe. Nothing Dragon Age has ever been.

N.B. I tried to be as accurate as possible while writing this text. I took notes while playing on events and conversations to try and stick to the facts actually occurring during the game. But of course, the game is immense and guides to it are not as detailed or reliable as of now, so I couldn’t double-check most of it. So, if you find anything wrong with what I say, any details (or massive plot points) I missed or got wrong, please do let me know, and I’ll see to correct them!

Good things first. Because despite what the shitload I’m about to drop onto the game might suggest, there are a few changes they made that I genuinely appreciate.

First of all, the playability has greatly improved. When it comes to DA, one of the main issues I always had with every. single. game. was that the first few hours I was lost in the dynamics I needed to figure out before I got the hang of it. Maybe I’m just an idiot. But still, there are mechanics in all three previous games that need to be understood before you get down to actually playing (and enjoying) the game. Veilguard is not like that. It’s very intuitive, everything is pretty neatly marked… it’s something I sincerely appreciated.

I also don’t dislike the new combat mode. I was worried sick that a party of only 3 wouldn’t be remotely enough to cover everything that needs covering, but I’m glad this was not the case. I’m also a pretty non-strategic player when it comes to combat - the kind who’s content with swinging an axe around and decapitate whatever comes close enough to hit. It’s again a very intuitive format the one in Veilguard, and though 3 attacks may be few, they suffice imo. Same goes for steering your companions’ fight. Only downside is just how much you need to dodge. I was hoping to play an archer, but quickly realised that playing solely at range is basically impossible since enemies target you constantly. But melee combat has also become far more manageable than before, so not all that bad. But again, I’m a player who doesn’t really know what strategy is.

And another thing I really appreciated is the pacing. To have more minor main quests scattered all along the way rather than fewer, bigger main quests, interspersed with countless side quests, helps keep better track of the plot and the big events that just occurred (which are supposedly pretty urgent stuff, stop wasting your days picking elfroot!). And in a game as story-led as DA is, keeping the plot together is not a bad thing after all.

Good.

Now that we got this out of the way,

Let’s begin from something that alarmed me already ahead of release: the impossibility of importing your world state.

I’m generally not one to jump to conclusions before having thoroughly looked into the thing. But this could not not be an issue. DA games after Origins have always lived and breathed the lore they’re set in. Choices you made affect the world afterwards. And though in the major scheme of things, they all pretty much came together to the same core points, it’s always been nice to see how previous choices reflected into the new games. You could overhear people mentioning a certain event while passing by, you could ask how your companions from the previous game were doing… and cameos of characters from previous games were doubtlessly the best part of it. Some were just fleeting appearances, but some were so relevant to the game that you ended up doing entire quest-lines with characters you knew from before and cared for. What’s more devastating than having to choose between leaving Alistair or Hawke behind? (Don’t answer please, I know the list of tough choices is long, please, don’t make me suffer further).

In Veilguard, because you cannot bring up the previous state of the world, not only you don’t have any access to news from other parts of Thedas (like, c’mon, you can’t tell me that echoes of whatever is going on in the circles southwards is not reaching maybe not Tevinter, but at least Antiva or the Anderfells), but every cameo is so frustratingly underwhelming! Characters just make an appearance, you don’t really get to talk to them, and even when you do, you can’t ask them how they’d been doing since you last saw them in DA[X]. If I left Isabela to the Qunari, I wanna ask her how she escaped! If Dorian is in a relationship with Bull, I wanna be updated! If Kieran was born, I wanna know how he is! Morrigan is the only character from previous games you have decent conversations with, and you still don’t know shit! These are small details, often irrelevant to the plot, which make the lore of DA rich and alive, and help the player connect to the worlds before the current one!

But the sad truth is that Veilguard was made for new players. Not for old ones. And yes, I understand that after 10 years since the last game, it’s plausible to think that many old players will have forgotten the franchise… but how many people had been eagerly waiting to see this world further develop for a literal decade? I can’t believe they’re not worth enough.

And being unable to choose your own world state means that the rich lore is largely avoided. A big part of discovering new countries of Thedas in previous games was being immersed into the local culture, its traditions and customs, its politics, even its language, and they had an influence in the events. After Veilguard, what do I know about Rivain? Beeches. And they have food of some kind. That’s it. That’s the lore.

Oh no, wait. We know Rivain is a non-binary culture... or do we?

Please, help me out on this. Because I played this part twice, and twice I found a plot hole so massive I sincerely think I must have missed a very easy bridge crossing over it somewhere. Please, if I did, tell me. Because otherwise, this is what I saw. And it’s driving me insane.

When Taash needs to make their choice, it is spelled as “choose between the Qunari and Rivaini culture”. And beside the irony that was noted about Taash’s cultural identity to be forced into a rigidly binary choice, Taash embracing the Rivaini culture additionally translates into them embracing their non-binary identity… except… how does choosing that culture equate to choosing that identity? When is it ever stated that the Qunari culture is a binary one [it is made explicit later on, during that infamous conversation], while the Rivaini culture is not, before that moment? And that’s not even the whole problem! To do some “talks about gender”, Taash needs literally to go to Tevinter ([SPOILER] and since I had Minrathous taken over by the Venatori, the Shadow Dragons are literally missing atm, so how on Thedas did Neve manage to arrange not one but SEVERAL cozy talks between them and Taash?). How is that supposed to be “Rivaini culture” if Taash had literally never heard of it from them and needed to go to a whole other country to find out about it?

This is just how afraid Veilguard is of its own lore. Companions may be the soul of Dragon Age games, but their lore is their spine. Without it, they’re just a shapeless mushy blob. I literally went through every single game just to live and help build this world. That’s just how powerful it is. And Veilguard is so scared of it (and Maker save us from any mentions of slavery in Tevinter or THE CROWS), it won’t let you get any close to it, at the cost of not even giving you the information you need to make your own choices.

But even though the game won’t give you the elements to understand what you’re doing, it will always clearly mark in bright neon colours what’s the choice it wants you to make. And after all, you don’t need to be informed to make informed choices… if the choices are already made for you.

“You’re not very good at being evil” (Bellara, 9:52 Dragon) That’s right… why am I no? Oh yeah, because BioWare decided so for me.

In BG3 you can literally choose to go for a mystery background that forces you to kick a squirrel dead, and you can choose either to fight it or go down the horror lane of the Dark Urge. And regardless of the background, at the end of the game you can literally fuck off the entire mission and just decide to become god and enslave the whole literal world. You can fucking turn your companions into fucking brainless squids! That’s the amount of liberty you have!

Now, a disclaimer. This amount of liberty does come with a cost. The choices you can make are many, but Larian has its own standardised plot, and that’s the one you get. Jaheira can die in BG2, she will still show up in BG3. And if when Larian releases BG4, they will have chosen one path of events. And whatever you might have wished to see reprised in this new game, you can only accept what is chosen for you. This is the trade-off when have this much freedom of choice. And all in all, it’s nice to have a game like BG3, but my heart lies with my choices, and I want to see them reflected in my worldbuilding.

Veilguard instead has a course set for you and all your companions, and you have no power over it. And that’s frustrating not because I would make the evil choice, given the chance. I am literally the kind of player who manually saves before starting a conversation with any PG, so I can go back and try not to hurt their feelings the second time. And yet, having an evil option is important, even for me. Because that’s when I choose not to use it.

I elaborated further on the importance of the evil option here.

In DAO, your character literally doesn’t speak with its own voice, and needs you to select every single dialogue line it’s gonna use with NPCs. From there, PCs have grown more and more independent… until here in Veilguard, they basically do everything on their own! Entire conversations are carried out without you being able to intervene, if not to give a small input every once in a while. You don’t really need to read the options you have, because you know that anything you choose will inevitably be just nuances of the same answer. And even the “blunt” option is not necessarily blunt. Only mildly more determined, but even your personality is not your choice. And the one you get, well…

credit: @9lunarseas6 via @timo-0126 (link)

Like… really? Rook is a far, faaaar cry from the wit Hawke spoiled us with.

For the unlucky souls who’re not acquainted with Hawke, this in the video is one of the personalities they can have. And all these personalities are very starkly defined, and depending on which you’d been selecting most often, they end up colouring many of your interactions, even without your active control.

What’s Rook’s personality? If I had to describe them as a nuance in an array of colours, Rook would be a bleached rag. And it’s not like you can do much about it, because of course, there’s the matter of agency. Rook role plays on its own, and you’re just a companion, giving them your input and hoping that will affect their decisions.

And speaking of companions… let’s discuss them. Because for months, years on end, BioWare wouldn’t. shut. up. about how important companions are to them, how central they are to their stories, so let’s talk about the companions.

Companions have always been the soul of BioWare games, because they have a stark and faceted personality they’re not afraid to show in all its vivid colours. And then there’s Veilguard. I won’t say they’re soulless or without a personality, but they are... bland. They have personal challenges and peculiarities that give them colour, but they are still faint hues of the usual rainbow we’re used to.

To give an example, let’s discuss the irony of Bellara asking why the hero of the story she’s writing would save the world... and this is the exact question the whole game never asks to any of its characters once. None of them has any sort of ulterior motive to join the Veilguard other than the answer Rook gives Bellara: “because we’re heroes, that’s what we do.” (Seriously? That’s how you get away with it?)

In DAI, the world was ending too, and yet there was always another, more personal reason pushing your companions to join the Inquisition. Thom was desperate to give his life a purpose and to make amends. Bull needed to keep an eye on the Inquisition on behalf of Par Vollen. Dorian got sucked in at first because he was trying to save his mentor and his friend, and then remained because he literally didn’t have anywhere else to go. Cole... he didn’t even care about the world ending! He was there because helping others was literally his nature. And all these personal reasons helped shape these characters and build the depth of their personality.

What are the personal reasons pushing these individuals specifically to join the Veilguard? Taash might be tagging along to free the blighted dragons from their misery (or just because their mother told them). But even that is hardly exploited along their arc. And the same can be told of every companion. They struggle to have any depth to them, which is completely foreign to Dragon Age characters, even when too hasty writing made for poor plot and character development (looking at you, DA2). Even Varric! VARRIC! A character who’s had two whole games to build and solidify his personality! Who’s hands down one of the most loved character of the whole franchise! How do you even manage such a feat?? Oh yeah, by relegating him to a corner of your palace that you never visit, without ever giving him any relevance to the game. [non-explicit SPOILER] No, the explanation given at the end is not enough. Varric is repeatedly narrated to be a great man, but all you see him do is making a few motivational speeches and conclude with “I’m going to take a nap”. How can you do so much dirty to such a character so thoughtlessly? New players will never know that Varric is indeed a great character, because they are told so all the time, but never shown.

But this ton of telling and not showing and general flatness is not exclusive to the companions. It touches everything. The lore, the relations between factions and characters, everything is oversimplified, and often reduced to a few key features that characterises pretty much every aspect of them. Most are reduced to their species or faction or such, which doesn’t allow for overly faceted motives and which in turn impacts your freedom of personalising your own beliefs and purposes.

Davrin: “So, you met a god” Bellara: “Well, technically, OUR god”

No, technically, freedom of religion applies regardless of your species, and both Davrin and I made it repeatedly clear that we want nothing to do with these self-proclaimed “gods”. So WHY can’t I just tell Bellara to stop forcing her beliefs on us, just on the grounds that we’re elves? “Remember the nursery rhymes?” No, Bellara. I was raised in Tevinter by human parents. Why would I know elven nursery rhymes?

I chose to play as an elf raised in Tevinter – from where Dorian says the Dalish literally stay away – exactly because I wanted to see what consequences would bring to play as an atheist elf raised far from elven customs who has to take down two gods from the elven pantheon. And guess what I saw? Nothing. It changes nothing. Not in my interactions with others and not in the knowledge I have access to. Bellara will still talk to me and speak of “our” gods, and I will keep on knowing Dalish lore and speak (native?) Elven, because apparently I got that for free, no explanation given to justify such competences. Zevran, Fenris and Sera were all elves raised far from Dalish or any elven influence, and they went about it in three radically different ways. Zevran struggled for every bit of memory he could gather of his mother and her Dalish customs, Sera rejected them all together, while his elven heritage was not even on Fenris’ radar. Me, I just know. Because. And don’t even get me started on tattoos…

credit: @0alix0 (link)

But I can’t conclude this odyssey of an essay before I’ve touched one last subject.

Bellara: “I think we’re getting close” Rook: “How sure are you?” Bellara: “As sure as I can be?”

The script. Oh, the bloody script.

I sincerely hope someone organises a poll to vote for the cringiest scene in Veilguard. I’m sure a fan favourite will be that already infamous scene of Taash’s coming out with their mother. My vote would go to the final dialogue with Isseya though.

Beside the cringe though, most of the problems with the whole script of the game is that it’s just… empty. Dull. Generally uninteresting.

In DAI, I would literally stop whatever I was doing just to pay extra attention to whatever banter had just kicked in. And it was always amazing banter! The wit, the jokes, the stories, the developing relationships! In Veilguard, I appreciated a lot the fact that banters interrupted by STUFF start again from where they left. And I often went back to the Lighthouse to take a tour of all companions and eavesdrop their conversations. But soon I realised… that too was often not worth the trouble.

It’s just all cheap script, that most of the time fails to be interesting or even relevant. What’s the point of the conversation between Bellara and Rook I transcribed above? What does it give me? Nothing. It only feels like a need to fill empty bits. And this applies to every single conversation in the game, from banter to plot dialogues.

Oh, and beside the poll! Can we also have a drinking game with Bellara’s lines? A shot for every time she says “he was/is my brother” (double if she adds another “my brother” afterwards) and “my/our people/gods”. I swear 60% of her lines are just copy-pasted.

Dragon Age had been away for a decade, and I understand the need to call to new players to rebuild a base after so many years. I get it. But while Veilguard is not a bad game, it’s not a Dragon Age game. Because it’s devoid of everything that makes Dragon Age what it is.

So what's next?

First of all, stop your plans on completely wiping off every bit of previous lore by just saying “the south was blighted and destroyed everything”. I see what you’re trying to do there. Don’t. Destroying all previous worldbuilding to start off with no strings attached is not the way to go. Instead, find a way to call back all the writers you chased away over the years, starting from Gaider. You need people who live and love this franchise, who know it and know what made it the grand experience it is. You need them. And you need to listen to them.

Then.

Veilguard introduced us to a shit ton of never-before-seen locations. Now let us get to know them.

No Dragon Age had ever had this many places in one go. Previous games are set in one, two locations at best. And all of them allow you to dive deep into the lore by playing it. You get to choose who rules these countries, to decide on whose side you’d rather stand in a war... so pick one location, two at most, of the many you introduced in Veilguard, and let us go deep into it. Let us fight slavery by Fenris’ and Dorian’s side (in Joplin, maybe? *winkwink*), let us see the consequences of the mage-templar war, let us know whatever the Divine decided to do with the circles. And let us get INVOLVED. All Dragon Age games have always been about being involved in a vast lore, so let us do it! Let us experience and live this rich lore! And let us write a bit of it too.

P.S. is anyone else annoyed that elves and Qunari have gradually become just humans with funny features? Like pointed ears and/or big horns? I so miss Merrill’s and Fenris’ cat-like eyes and the Arishok’s dragon-like brow.

[finaidestinationz]

thinking about the parallels between misha and jane doe

both of them are implied to have not particularly been liked—with misha being called “the angriest boy in town”(WHEN HE HAS EVERY REASON TO BE ANGRY WHEN THE WORLD HAS WRONGED HIM SO MUCH) and judged to oblivion by literally everyone and with jane nobody even bothering to try and identify her, and just passing her off as “some other choir kid or kid from st. cassian’s who happened to be in the wrong place at the wrong time”

they’re both filled with very very strong motivations—for misha, it’s doing what’s most important to him and coming back not only to meet his lover, but to die on his own soil and find some semblance of peace. meanwhile, jane also wants to come back to life for something pretty big, which is to just REMEMBER and have any sort of life like a kid should have. like all of the students did have, except for her. both of their stories are insanely tragic

plus both of their songs change in tone when they get angry. talia changes to rap when misha realizes that he probably will never see natalia again (WHICH I COULD GO ON AND ON ABOUT HOW ILL I AM THAT HE STILL JUST ACCEPTS IT LIKE HE KNOWS HE WONT BE VOTED FOR WHY DOES NO ONE TALJ ABOUT THIS) and jane’s changes from the organ to fairground music when she shows some sort of emotion for essentially the first time in the entire musical. and it’s ANGER. because she has every fucking right to be angry when she comes to the realization that no one cared. both of them died knowing few would care, and jane doesn’t even remember the one who DOES care (going off legoland canon here it’s ezra)

jane is the haunting soprano and misha is the powerful bass. opposite ends of the musical spectrum too

idk they make me sick to my stomach i think they should be best friends

[artist-issues]

Mufasa Re-Do: Zazu

For my first adjustment; Zazu! Zazu and his interactions with the rest of the cast.

In the Mufasa We Got, Zazu is supposed to be young, and comedic relief, because he is following Sarabi around like he’s on her staff somehow, because the rest of her pride was scattered by the villain. He doesn’t interact directly with Taka or Rafiki beyond flying in the same traveling group as them, and he has one interaction with Mufasa where Mufasa tells Zazu that he can save the day by using his bird wings to cover their tracks so the villains don’t find them. 

They’re inconsistent with Zazu’s characterization, and with what he’s doing in the story. At first, he seems to be dedicated to Sarabi as part of her honor guard, though she mentions he’s just her scout. That’s supposed to be funny, because he’s like a 1lb-bird claiming to protect a 200+lb lioness. But any time there’s trouble while they’re in the traveling part of the movie, he turns into a coward and darts into the sky with a one-liner about how he didn’t sign up for this danger. Even though he had no trouble “confronting danger” when it was Taka and Mufasa. Then, even later in the climax, he seems to lose all cowardice (inexplicably) and has to be rescued because he’s trying to fight three evil lions at once.

None of which has anything to do with the Zazu we know and love from The Original Lion King. 

He has one line at the end where he seems to be a stickler for tradition, which would be in-character for the Zazu we know—he tells Mufasa that he must banish Taka for betraying them. But uh…where does that tradition come from, and how does Zazu know it? He just got to this kingdom ten minutes ago. Also, THIS young Zazu has not demonstrated any personality-bent toward tradition until this moment. Basically what I’m saying is, they just needed someone to suggest banishment in that moment, and Zazu was luckily nearby and they could give him that line. It only fit his adult-characterization by accident. 

In the WHOLE movie, they should’ve been showing that he was a stickler for rules and pomp and circumstance. They should’ve been showing how he was THRILLED to be part of a royal lioness’ staff, and wasn’t going to let anyone take that away from him. 

In the movie, however, I love one moment with Zazu, which was totally inconsistent and never gets addressed again, but they should’ve been focusing on it much more and it could’ve been great:

It’s when Mufasa encourages Zazu to use his wings to cover their tracks. 

This scene accomplishes 3 things:

1 - It gives Zazu a moment where he can be validated, and feel useful, as a young bird in the company of royal lions. That could be a real character beat that shows us how he got to the majordomo we know & love in The Lion King. 

2 - It shows Mufasa’s “superpower” as a character; he “respects all creatures in the Circle of Life” and can not only empathize with them enough to see how they can be useful—but he can INSPIRE them to work together for the greater good. He can make a plan, see how someone else can be delegated-to to put it into action, and then inspire them to get it done. You know. Like a good leader.

3 - It shows all the characters around Mufasa, from Sarabi to Taka to Rafiki, that there’s a different way to think; animals of all species can be useful. For Taka, he needs to learn that to become the evil-genius who thinks of allying himself with hyenas. For Sarabi, she can admire the way Mufasa trusts others, and see that they CAN be trusted.

The problem is? The Movie We Got doesn’t lead up to it well. Zazu acts insecure and uncertain, in this ONE scene, until Mufasa believes in him and gives him a pep talk. But earlier, Zazu seemed to have no problem with confidence and self-importance. The other characters’ interactions with Zazu don’t lead up to this moment well either. Actually, they’ve barely interacted with him at all. He’s just flying around saying one-liners to himself.

So! Here’s what I would’ve done.

Young Zazu:

Instead of being all-over-the-place with his characterization, I would’ve made Zazu an intensely loyal bird who thinks he can be useful to the Grand Scheme of Things. Unfortunately, he has way too much confidence in being able to do anything, when actually, he needs to learn that he;s just a bird. He can do some things well, but he won’t fit into ANY place in the Circle of Life—he needs to find HIS specific place. A place where he can be of the most service. (That’s a recurring theme in my idea for the movie.) So, first he thinks he can be a bodyguard for Sarabi, then he almost gets her and himself killed and loses all confidence—then Mufasa gives it back to him by showing him that he can be more useful in a smaller way. Like covering their tracks.

Zazu and Sarabi:

Sarabi’s father did leave Sarabi in Zazu’s care. But it was a panicked, spur-of-the-moment decision. It went like this:

Sarabi’s father heard there were Rogues hunting in his territory and, like a good King should, interrupted their illegal hunt and tried to chase them out. They happened to be toying with young Zazu at the time when Sarabi’s Dad burst in and fought with them. But he was overpowered, underestimating their numbers, and Sarabi’s Dad realized that his kingdom was about to be taken over. So in the middle of what became his last stand, he commanded Zazu, who was still nearby,  to go find his daughter, the Princess, and warn her to run away. But Zazu actually found her after she already escaped, on her own, and insisted that “your father left you in my care!” Then he won’t leave her alone.

And in my concept, she hates that.

 In The Movie We Got, Sarabi was very inconsistent, too, just when it came to Zazu. She’s like, “I don’t need anybody’s help— and nobody’s WOULD help me, anyway.” She acts that way with Mufasa & Taka, she acts that way with Rafiki, and she eventually acts that way when Mufasa wants to get help from elephants. BUT. She does NOT act that way with Zazu. Which is not only inconsistent, but ridiculous, because he is, again, a 1lb-bird, and making her consistently annoyed by his offer of help would have strengthened the story and given Mufasa more of a spotlight, by contrast, because he DOES value Zazu.

Anyway.

Sarabi should find Zazu bothersome, especially because she CAN’T get rid of him. He flies out of her reach whenever she tries to scare him away, but he never goes far, and he won’t shut up. At first. He’s convinced the King, her father, condescended to save his life and entrusted him with something important, he’s thrilled to have that mission in life, and he doesn’t (at first) care what she or anyone says to the contrary.

For most of the movie, Zazu and Sarabi’s relationship is one-sided. Eventually she softens her dismissal of Zazu into seeing him more like an “annoying little-brother,” (because they bond over Zazu’s brief connection to her late father + they spend more time together + Mufasa sets a more empathetic example and it rubs off on her.) 

Then they have one tense moment where Zazu’s bad-fit as her bodyguard really leads to bad consequences for Sarabi, and he loses all confidence, until Mufasa fixes that.

By the end of the movie, Sarabi and Zazu are friends and she’s come around to Mufasa’s way of thinking—all animals in the Circle of Life should be respected in their own right, and Zazu is their first example of why.

But at the beginning, it’s pretty tense. He insists he can be useful and she demonstrates how much she refuses to need help by wishing she could eat him.

Zazu is introduced to the rest of the group like this:

While Sarabi is slinking through the bush, trying to put as much distance between herself and her fallen kingdom as she can, Zazu won’t stop flying overhead, yammering. He’s talking about how danger can come from anywhere, and pontificating on what a good Royal Escort’s policy should be to watch out for it, and she’s shushing him but he’s taking no notice.

 Taka and Mufasa spot him flapping and monologuing above some bushes as they are making their own escape, and when they get closer, THAT’S how they find and meet Sarabi.

Taka thinks Sarabi is beautiful at first sight and tries to pounce on Zazu as soon as he gets the opportunity, kind of to show off and make an entrance. Zazu protests that he is Sarabi’s Royal Escort, and should not be eaten. Sarabi wants him to shut up—she doesn’t know if these two strangers are part of the Rogues that she’s running from, and she doesn’t want them to know who she is (more on that in my Sarabi-focused post.)

But Mufasa? 

Zazu and Mufasa: 

Mufasa hears that Zazu is Sarabi’s Royal Escort and he thinks that’s a great idea. He admires that she works with a bird, immediately. (Remember, in the great Lin-Manuel/Lebo M. Song, “I Always Wanted a Brother,” Mufasa admires birds for their freedom and ability to see more than he can?)

He shows how Zazu can be useful, and eventually convinces Sarabi that Zazu IS useful. This can happen more than once, but the best moment I’m thinking of is Zazu flying to get help when Sarabi is knocked out by the elephants. (That’s scene was almost strong, so I want to keep it.) 

Zazu does this without thinking, even though a moment ago he was downhearted and feeling useless after his Big Mistake Moment. But Mufasa takes notice, after getting Zazu’s message and saving Sarabi. He reminds Zazu of  his helpfulness as a messenger later on, when they need him to cover their tracks, and that convinces Zazu that he really is believed-in by the lions. Then Zazu goes to Mufasa for orders in the climax, further hitting the nail-on-the-head that Mufasa’s True Place in the Circle of Life, where he serves others the best, is as their natural leader.

Because he can see the respectable nature of all creatures, from the crawling ant to the leaping antelope. And it starts with Zazu!

Zazu and Mufasa are fast friends, from the beginning. This is obviously because Mufasa does more than tolerate a bird traveling with them, he actually laughs at Zazu’s jokes and treats him civilly—but he also stops Taka from eating Zazu.

Zazu and Taka:

The running gag for much of the movie is that Taka finds Zazu annoying, as one of his maneuvers to have something in common with Sarabi. Also from an early age, Taka believes other animals are only as useful as they are tasty, or maybe as entertainment. 

Zazu dislikes Taka’s presumption to always be walking alongside Sarabi. He keeps getting in the way every time Taka tries to put the moves on the Princess. Sometimes Taka comedically menaces Zazu, but once or twice at the end of the movie, to show how violent and bitter Taka is getting as Mufasa gets the spotlight, Taka really tries to smack Zazu around. 

Mostly, Zazu serves as a way for Taka to demonstrate how differently he and Mufasa think…and Sarabi is caught in the middle of the two worldviews.

Zazu and Rafiki:

Zazu starts out skeptical of Rafiki and even being a little jealous of him. He sort of unconsciously liked that he was the only non-lion traveling companion of Sarabi—it gave him a sense of special-importance. He also likes things to be proper, and Rafiki seems a little crazy, so their personalities don’t exactly mesh. 

But then I’d hint every now and then at the idea that Rafiki, in their travels, is teaching Zazu about the traditions of the Great Kings, and how lion prides have been run in the Pridelands. Zazu likes that, because in his mind he’s part of Sarabi’s nonexistent court, and now he has rules and regulations to insert into conversations with her.

This way, by the end, if Mufasa needs someone to suggest punishment for Taka, Zazu can believably be the one to do it. And it won’t come out of nowhere. It’ll feel like this was always where Zazu was headed, because now we’ve seen where he came from.