#its okay! youre allowed to make a character whos just like you in that aspect

[imaginepostingonmain]

if theres one thing i could say to roleplayers and writers and oc makers it would probably be that you don't have to make your oc good at the things they enjoy!!

i remember one of the first people i ever really roleplayed with (we fell out of contact a long while ago; i hope they're doing alright now) was a big doer of this- their ocs would have talents or hobbies that they were very, very good at-- they never needed to learn or practice or anything of the sort- and i ain't condemning them for it in any way! the world of fiction is a wonderful place and a great form of escapism! that's what the "you don't have to" aspect of this is all about!

but it led (at least in this case) to this vein of thinking that was centered around "(x) aspect of my life isn't how it is in stories; does that mean i'm doing it wrong?"

when you don't have any other reference for things like hobbies or relationships- or when trouble with hobbies and relationships comes first, and you make ocs that are very, very good at dealing with these things to cope- it can sometimes skew your way of thinking about these things-- which i know because i did exactly the same and it did exactly the same for me. there weren't any characters out there who sucked at what they liked and liked what they sucked at, and honestly it just began to make me feel worse about myself. was i not improving fast enough? was this not the sort of route of life i should be pursuing? would my favourite characters be disappointed in me?

sometimes it works with escapism! sometimes it makes you feel worse abt your own life! sometimes- and this is entirely possible- it does both at once!

and honestly, there's a lot of things you might be able to accept in the worlds you create and the fiction you consume that could help you- like that it's okay if you (and your characters) don't fall in love as a teens, or it's okay if the relationships said teens build aren't concrete aspects of their life. it's okay if you (or your characters) never fall in love at all! it's okay if your characters are messy, complicated people and it's okay if they're not right or good or nice all the time!

but the biggest (and funnest, and perhaps most freeing) thing is they don't have to be good at what they like!! you can have singers who aren't prodigies and artists who aren't secretly talented and bookworms who aren't geniuses- and you can have people who like romance and aren't good at falling in love, or who like being good and aren't skilled at being morally upstanding!!

you truly can do what you want forever!!!!!

[ellecdc]

HI QUEEN 🎀🩷🎀🩷

I literally just atalkws all your marauders fics for like 2 solid hours. You're writing is healing me at this point.

I was wondering if your requests were open? And if they are can I please request a fic that happens directly after the first war (marauders era) and reader has ptsd and maybe got triggered by the smallest of domestic actions done by one of the boys and comfort ensues for the episode and aftermath guilt?

I'm sorry it's oddly specific, just fighting some demons rn and your awesome writing kinda does the trick heheh

please feel free to ignore this one! love u <33

thanks for your request, love. hope things have been easier on you as of late <3

poly!marauders x fem!reader who is struggling with PTSD [1.5k words]

CW: PTSD, post-war, mention of past character death/grief, panic attack, hurt/comfort

The war had taken its toll on all of you; ghosts of the people you lost and the people you all once were haunted you, reminding you of scars both visible and invisible that coloured every aspect of your life.

There were things that the four of you staunchly refused to talk about; Remus refused to speak about his time in the feral packs, Sirius refused to speak about his brother, James refused to speak about Peter’s betrayal, and you refused to speak about what happened when you went missing.

Perhaps there were healthier ways to manage the grief and pain, perhaps you would all benefit from reconsidering those lines each of you had drawn in the sand.

But you were all alive, you were all together, and you had your whole lives ahead of you, and for now, that was enough. 

It was enough until it wasn’t.

It was enough until Remus was sitting on the floor of your kitchen with you pulled into his chest as Sirius hovered in front of you, holding your hands against his chest as he begged you to breathe, to copy his breaths, to come back to him. 

To come back to him. 

You and James had been fussing in the kitchen making breakfast this morning; Remus being wholly uninterested in mornings but very much interested in the two of you had been sitting at the kitchen table in camaraderie as Sirius shuffled sleepily into the room. 

He took the time to admire Sirius’ sleep rumpled hair and the faint lines over his face and bare torso, clearly having rolled straight out of bed before going in search of his loves. 

You were reaching into a cupboard to retrieve Sirius’ favourite mug when he came up behind you and placed his hand at the nape of your neck at the exact moment that James burned himself at the stove; cursing loudly and dropping the pan which landed on the floor with a bang, closely followed by the sound of breaking glass. 

Remus was up from his seat in record time, aching joints be damned, and at James’ side.

“I’m sorry, I’m okay; sorry.” James gritted out, acquiescing to Remus’ probes and allowing him to examine his hand.

“Awe bubs, you got yourself good.” Remus cooed as he cast a quick aguamenti over the burn.  

“Shit, yeah.” He breathed out. “I wasn’t paying attention.”

“What broke?” Remus asked then, looking down at the pan that had landed horribly close to James’ feet and searching for evidence of a broken bowl.

“What do you mean?”

“Did you not drop something?” Remus clarified.

James shook his head with furrowed brows. “Just the pan.”

Their bemusement turned to concern when they heard a choked “baby” coming from Sirius’ lips. 

Remus’ stomach dropped as he turned to see you half keeled over, leaning against the counter with one hand at your abdomen and the other over your mouth as if you were suppressing a scream. 

“Is she hurt!?” James asked quickly, moving swiftly along from his own pain.

“It…I- it was me. I-” Sirius started, sinking to the floor in time with you as your legs seemed wholly unable to hold you up in your current state. 

“She’s panicking.” Remus surmised aloud, quickly tiptoeing over what he realised were shards of Sirius’ mug that you’d been procuring moments before. 

“Dove? Hey, look at me.” Remus offered as he crouched in front of you.

You shook your head quickly and sucked in a stilted breath. “I’m sorry.”

“You don’t need to be sorry, my love, just look at me.”

You shook your head again and tried to back further into the lower cabinets as if hoping they would simply swallow you whole.

“I’ll clean it up. I’m sorry.”

“Sweetheart,” Sirius pleaded, “we’re not worried about the mess.”

“I’m okay.” You sobbed, sounding anything but.

“I know you are, dove. You’re okay, come now.” Remus said as he finally joined you on the floor, leaning back against the cabinets and pulling you into his lap so that you were fully enveloped in his embrace. “Big breath, babylove, can you do that for me?”

You made a high pitched keening sound and shook your head quickly. “I’m sorry.”

Remus looked over to notice that James had his burnt hand held protectively against his chest while his other kneaded into Sirius’ shoulder as he whispered into his ear.

“Look, dove, Jamie can fix the mug no problem, and Siri’s gonna help you take big breaths, okay?” Remus tired then, stirring both boys into action as James straightened and cast a quick reparo to Sirius’ mug and Sirius shuffled over on his knees to station himself between Remus’ spread legs and in front of you. 

“Can you copy me, baby? Like this?” Sirius begged. “Just like this.”

Sirius pried your hands away from your face and encouraged them to flatten out against his chest where Remus was sure you could feel the hammering of his heart as he took a dramatic breath for your benefit. 

You choked out a few more apologies that both boys gently admonished you for as you tried to copy Sirius’ breaths; they were nowhere near as deep or graceful, but Remus was thankful for your effort nonetheless. 

James reappeared then, his own hand now wrapped with medical tape and smelling strongly of Remus’ healing balms when he held something out for you.

“Angel, can you do me a favour?” He asked extraordinarily softly that it even had Remus feeling more at ease. “Can you hold these for me?”

Remus watched your face as you wretched your eyes open - another ‘deep breath’ stilted by a sob as you looked to him - to see him holding two large spheres of ice that Sirius had for his firewhiskey. 

Sirius kept his hands gently stationed on your arms as you removed them from his chest and accepted the ice from James, still never letting go even as the ice began to melt and drip freezing water down your wrists. 

When your sobs became the occasional hiccups and Remus felt you deflate further into his embrace, he braved a gentle caress of your upper arms in warning of his presence.

“Better?” He murmured lowly into your shoulder, earning him a deep sigh that came out only slightly shaky. 

“I…think so. I’m s-”

“No, no, dove.” He admonished quickly, peppering slow kisses along your shoulder and the column of your neck. “There’s nothing to apologise for.”

“I didn’t mean to cause a scene.” You murmured quietly, and Remus watched as Sirius’ face crumpled.

“You didn’t cause a scene, baby.” He argued quickly. “You were scared; I-”

James made a sympathetic sound in the back of his throat as he wrapped an arm around Sirius and pressed his lips to his long-haired boyfriend’s head.

“Should we not touch you like that, dove? Here?” Remus asked carefully then; dragging a barely-there finger across the nape of your neck and watching goosebumps appear.

“No, that’s fine, I- it wasn’t that I…it was just both and I…I didn’t sleep very well and it was just…”

“Too much?” Sirius offered as James relinquished you of what was left of your ice that had you and Remus damp, drawing circles into your wrists that he still had secured in his grasp.

“Just at once, I’m sorry.”

“Angel…” James chided.

“I am sorry.” You insisted as you looked at James imploringly. “I’ve not been doing a very good job handling my shit lately and now I’ve ruined the morning for everyone.”

“It’s not your shit, baby, and it’s not only yours to handle; we’re supposed to be helping you too, yeah?” Sirius pressed as he craned his neck to meet your eye that you were trying to avoid. 

“And you didn’t ruin anything; you could never ruin anything.” James added. 

You sniffled at that and took another deep breath that hardly shook at all as you leaned further into Remus. “Is your hand okay, Jamie?”

James smiled softly at you before bending down to press a kiss to your forehead. “It’ll be good as new, but I owe Moons some healing balm since I used a whole jar from his stash.”

“I’ll buy it!” Sirius announced quickly, surprising a small laugh from you.

“I’d think not, Pads; I’m the one who used it up!”

“Yes but you’re the one who was hurt, I’m the one who upset our girl.”

“I upset her too.” James countered as they began arguing who had played a bigger hand in this morning’s commotion. 

You and Remus shared a fond yet exasperated look before the two of you stood - on shaky legs after being folded up for so long - and opted to take a warm shower and change into dry clothes.

It may not have been the start to the day any of you would have liked, but you all made it out okay, you were all together, and you had your whole lives ahead of you. 

And for now, that was more than enough.

[literaryvein-reblogs]

Writing Notes: Magic Systems

Magic - change wrought through unnatural means

Most fantasy can be placed along a spectrum where there are 3 main points: soft magic at one end, hard magic at the other, and a middle ground between the two.

Soft Magic

Magic that is not well-defined for the reader.

Generally, we don’t understand where the magic comes from, who can use it, or what its limitations are.

Readers can see this type of magic being used.

But they can never anticipate when magic will be used in the plot because they can’t begin to guess how it works.

You can’t break a rule if the rules don’t exist!

Most stories that feature this system will have the magic users be secondary characters, allowing them to avoid explaining exactly how the magic works.

It’s also argued that without knowing everything about the magic, it tends to hold more wonder and excitement for readers.

Hard Magic

Has very rigid boundaries.

Readers know where the magic comes from, how it’s used, who uses it, and what its boundaries and limitations are.

We know the limitations of the characters and can understand why they can’t simply magic themselves out of any particular challenge.

Stories with hard magic systems do not need to avoid the main character being a magic-wielder, as they have the capacity to explain to the reader what is going on.

A lot of writers this system because it gives them very explicit guidelines to follow in their plot and creates some more satisfying pay-offs for readers.

The Middle Ground

The meeting point between the soft and hard systems.

We might understand a bit about the way the magic works, but not all our questions are answered.

While most of the content adheres to rules, these rules aren’t fully explored.

This system relies on the reader’s suspension of disbelief.

The main character can be a magic-wielder or not, and it’s up to the writer to determine when magic will be used in terms of plot.

How to Choose a System

You can and should use these guiding principles to build your magic system. Remember that you don’t have to choose one or the other. Your system can draw from aspects of both. Just stay aware of the weaknesses of the path you choose, and ensure you utilize its strengths.

Use a hard magic system if:

You are going to use magic to solve problems

Your audience is accustomed to the tropes of hard magic

You are okay with jumping through hoops to expand your system

Your magic doesn’t convey a theme

Use a soft magic system if:

You want to convey a theme through magic

You want to create a sense of wonder

You want the ability to expand easily

You want to be accessible to a broader audience

Your magic won’t regularly be used to solve problems

Branches of Magic

Like most writing processes, there isn’t really a correct place to begin designing a magic system. A common, and efficient, place to start, however, is by choosing what type of magic system(s) you wish to employ, such as:

Nature-based magic: water, earth, fire, air, and everything in between

Divination magic: see beyond sight and peer through time and space

Conjuring magic: move objects through space over any distance

Psychic magic: master the world of the mind

Life and death magic: tap into the very forces of life, death, and un-death with this surprisingly versatile collection

Animal- or creature-exclusive magic: some creatures just do it better

Magitech systems: the blurring lines of sorcery and science give magic a next-gen, high-tech flair

Eclectic magic: it doesn’t have to be “real” magic to have a real effect

Uncommon magic systems: the unsung heroes of fantasy magic

AALC Method

How to create your own magic system using the AALC (Appearance, Abilities, Limits & Cost) Method

Appearance

What the magic looks like

Makes the world feel more exotic

Can cause problems for characters but cannot solve them

Usually tied to a character arc

Abilities

What the magic does

Points calculated based on magical effect, range, number of people affected, and duration

Characters have a finite amount of fuel (mana) to use abilities

More powerful abilities require more fuel

The fuel does not have to be overt for the audience to understand

If points not overt, cannot solve conflicts unless a cost system is added

Limits

Unlimited uses of magical abilities

Abilities stratified in codified levels defined by their limits

The more the levels' abilities and limits are known by the audience, the more they can be used to solve conflicts

Focused on clever uses of abilities against stronger foes

Cost system can be added to enhance dramatic moments

Cost

Costs must be greater than or equal to abilities to make them dramatically satisfying

Costs can include time, exhaustion, materials, sanity, morality, etc.

Adds dilemma to magic by forcing characters to make choices

The greater the character's sacrifice, the more audience satisfaction at conflict resolution

Each system builds on the previous ones, so that Cost Systems use all four, while Point Systems only care about Abilities and Appearance.

Multiple systems can exist within the same story, and systems can harden over the course of the story.

The Force, for instance, has been a Soft, Point, Level, and Cost System depending on who wrote it at the time.

SOFT SYSTEMS (Appearance Only)

Window Dressing - magic for secondary characters; can instigate conflict but cannot solve it; e.g., Gandalf

Soft Villain - No explanation or upper limits needed; makes villains more powerful to make heroes greater underdogs; e.g., The Emperor

Chosen One - Unknown power keeps hero safe throughout story; can be considered plot armor unless earned through character arc

Sort Hero Incomplete - Curse or positive ability the character cannot control; hero still learning limits of ability at story's end; powers and arc continued in next adventure

Soft Hero Complete - Hero embraces ability to complete arc and solve main conflict; magic must become harder in subsequent adventures

POINT SYSTEMS (Appearance + Abilities)

Points Opaque - Non-explicit reservoir of energy fuels powers; cannot solve main problems without cost option because characters finding hidden energy reserve feels like deus ex machina

Points Hard - Both abiliites and points system must be explicit like in video games; becomes about resource management; easy to understand but takes sense of wonder out of magic

LEVEL SYSTEMS (Appearance + Abilities + Limits)

Soft Level Static - Unchanging power without upper limits; cannot solve conflicts because feels repetitive; power must be used cleverly; e.g., Wolverine's healing factor

Soft Level Advancing - Increased powers or new powers with unknown limits; cannot solve conflicts unless tied to a character arc like Soft Hero Complete, at which point "unlocks" new abilities

Hard Level Static - Unchanging abilities with clear-cut limits; can solve conflicts so long as setup is properly seeded, usually resulting in sacrifice; e.g., Genie

Hard Level Advancing - Well-established abilities with limits; can solve conflicts based upon clever uses of abilities, usually against stronger foes; e.g., Airbender

COST SYSTEMS (Appearance + Abilities + Limits + Cost)

Static Cost - Well-established cost remains consistent for each use of ability; can solve conflicts since based on personal sacrifice

Cost Fluctuating - Costs change based upon dramatic need; costs must be greater than or equal to ability; possible costs include lost time, money, sanity, health, memory, life, morality, etc.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References Writing Notes: Magic System ⚜ Fictional Items; Poisons ⚜ Fantasy

[dduane]

I just read the part where Kirk experiences the Enterprise's point of view in The Wounded Sky to someone else, where she sees the crew as children she is training up to the Great Desire of exploration for exploration's sake, especially Jim. His reaction, essentially: "That was really pretty. ....And then he blows her up."

I hadn't thought about that before! I checked the copyright date, and it looks like The Wounded Sky came out a year before The Search for Spock, so you were writing without knowing that sacrifice would eventually happen.

How did you feel about that? Do you wish that writing decision had been made differently? (If, as a Trek writer, you're allowed to comment on other Trek writers' choices!)

You know, I tend not to think a whole lot about such issues. First of all, because (in the long run) it gets you nowhere in particular that's useful. And secondly, because it's not a thing that, as a Trek writer in any medium except film, you have the slightest power to change.

Now, at this end of time I think we can safely say that no one's going to hire me on to write a Trek film. And also that no one at that end of the creative spectrum is going to pay the slightest attention to anything I say, either. Both of those situations are just What's So, and neither of them bothers me. (Since I have universes of my own to manage at the moment, and that's where my attention properly lies.) So as regards my opinions about other writers' work, I'm pretty much off the hook.

If I had been on screenwriting duty for that film, would there be things I'd have wanted to do differently? Hell yeah. From the premise up. But the important thing here is: would those things necessarily have worked better on the screen / with the audience? Impossible to tell. And speaking as someone repeatedly given permission to work in someone's universe, the main thing to be aware of is the expectation that your chief responsibility is to do what best serves the characters and the IP of which they're part. (There's a post over at Out of Ambit with a lot more of my thoughts on the subject:)

The other thing to remember is that, though I've worn the Canonical Hat in my time, novel work is by definition non-canonical. Doing it, you are at all times working with the understanding that the licensor rarely views your work as anything better than a corporate side hustle—a way for the IP to make some cash on the side—and will ignore you and the stuff you've created unless given pressing reasons to do otherwise. (Such as when they might make some unexpected money off it... at which point you remind yourself as forcibly as necessary that what you did is Work For Hire; they own it, lock, stock and barrel, and you should not realistically expect to be given any credit.)

And, if you understand the rules and enjoy the work enough, all of this is okay. The reward is not in making a lot of money doing it, or even in having aspects of your work openly assumed into canon. The reward lies in being allowed to contribute to a given universe in public (and, yeah, getting paid for it by the licensor). It's not payback: it's payforward. And you're left an astonishing amount of freedom to bring your vision to that universe. (Sometimes... as one colleague has McCoy say... you have to be "very, very careful" to get away with it. But it can be done.)

The truth is that even in the 1980s, I was sharing this level of playing-in-a-universe with a goodish cohort of editors and writers: a big roomful at least. Now I'm sharing it (retroactively speaking) with hundreds of them. With the best will in the world, even in the 80's the licensors (as regarded film) couldn't have realistically polled/listened to all of us regarding our creative opinions about the screenplay end of things. As for what that'd look like nowadays... I'll leave you to your own deductions. 😏

Anyway, thanks for the question. It's always nice to know that there are people who want to know what you think. 😊

[worrynoodle]

Okay. Now that I'm caught up, I would like to put in my two cents on this.

⚠️Warning, if the whole fandom panic thing stresses you out, please go ahead and skip this, but I tried to make it reassuring. There's no need to go worrying yourself over rumors and hearsay. ⚠️

For one thing, there's no amount of asking and pressure that is going to make any of the show creators reveal the ending. That isn't how tv shows work. You wait, you watch, you see. It also isn't fair for those of us who hate spoilers for them to constantly be asked for.

Two. I know that a lot of us on here are neurodivergent and have anxiety, and a HUGE part of that anxiety can be the unknown, especially about things we care very deeply for and identify with. This show and its characters hold a very special place in our hearts, and we fear not knowing the ending, especially with a big bang cliffhanger like s2e6. But please try to sit in that discomfort and allow yourself to feel your feelings without panicking.

Third, this story has been beloved for 30 years, yeah? Of course, OF COURSE, it's not going to be a bad ending! It's obviously something that all of the creators involved have been passionate about. Why on earth would it end badly? And all of them - Neil g, Terry p, the directors, the actors, the cast and crew, set and costume designers, the hair and makeup crew, ALL these wonderful people - put an unfathomable amount of care and thought into every aspect of the story.

Next, please, please, please try to remember the show on its own, right? All the details, all the scenes building Aziraphale and crowleys history individually and as a pair weren't put in there for no reason. Take what we actually see on screen and separate that from metas, theories, fanart, and fanfiction. We all love diving into what each detail could mean, but remember, it's all speculation until it concludes.

The story, what we have so far, is kind of a mostly completed puzzle. There's a lot of missing spaces, that's the season three bits. And right now we can't see the bigger picture but you have to remember that each piece of the puzzle was made by the people who painted the whole picture. Every piece that we have was made to fit with the whole story so once we have all the "season three pieces" they're going to fit right into place as they're supposed to.

And maybe, if you have very very high expectations - like very specific headcanons for how you think a perfect ending would look like - maybe it wouldn't be too bad to lower your expectations and open your mind to new possibilities. Ones that can be just as good!

So please, take a deep breath. Count to ten. Get your hot chocolate, your tartan blankets and comfy chairs, pull up some happy-ending fanfics and remember that it's all going to be alright. It's 2024 and this isn't Sherlock

[licorice-and-rum]

My response to some "critics" about Babel

Okay, I'm gonna start by saying this: English is not my first language so I may commit some spelling and grammar mistakes here but I felt like I just had to write this down, especially because of the negative reviews this book has that just… didn't get it.

Don't get me wrong, of course you're allowed to not like this book, I recognize that it's most certainly not gonna be everyone's cup of tea but some of the people here just didn't get what this book was all about. Babel isn't a fantasy like ACOTAR, or HP, or whatever (in the sense that, for those, the story guides the message while Babel is the contrary): like many classical books, Babel was written to make a point, it's a romance, sure, but it was written to argue for something - the necessity of violence.

So, first of all: Babel is a historical fantasy, it talks about colonialism, racism, sexism, and other matters with no qualms, no embellishing to make it digestible, no allegories or metaphors because this isn't the point. Kuang's "lack of nuance" as someone here pointed out is very deliberate and extremely important for the story because the points she wants to make are always lost in nuance (just think how many people go on misinterpreting Star Wars, Hunger Games, or even anti-system songs like The Wall ffs), and the message is too important to get lost in allegories.

Second, as to the story, many people seem to think what she's pointing out is obvious "ur dur colonialism is bad, we get it". No, you clearly don't. There's a profound difference between getting it and actually comprehending it to an elemental level. Robin's travel to Canton illustrates that perfectly: he knew that colonialism was bad, he knew it was violent but he didn't comprehend it until he was forced to face it happening in front of him - to people who could've been easily him. More than that, because that was when he finally connected the theory with the reality, it became palpable to him.

It's not enough to get it, you have to actually stay attuned to it, to feel the flow of its violence throughout the world because then, and only then, I'll realize you can't be complacent, you can't turn your head from it. And Babel is an attempt, however tiny, of showing this to you. Of telling you "Look, you're ignoring it, the discomfort you felt reading this is your conscience telling you you relate to that". So no, I refuse to accept that Kuang should have been more nuanced: she was as clear as she could because she knows people say they get it but they don't, not really.

Third, the magical system is just chef's kiss. I've seen many people complaining about it but the thing is: the silver working is not about having magic in the world, it's about creating a palpable, material place where Kuang could center her attention as she talked about the economic aspect of colonialism. That's because colonial power is not centered in one place or thing, it is scattered all around but you can't hardly make a point like Babel's if you have your characters fighting off colonialism in all corners of the world. Like the Capital in the Hunger Games, Babel is a material place that symbolizes something.

Moreover, the silver working symbolizes the Industrial Revolution and its need for the advance of colonialism. More than that, silver-working is about capital, it's about technology to generate more profit, quicker, for a specific class that doesn't care who they have to kill to continue, doesn't care whether it is good or bad for the common folk.

Fourth, many people pointed out how academic Kuang's writing style felt during Babel and they're right, it is indeed very identifiable. I'm sure I even commented something along the lines of "it feels like I'm having the best History lesson of all time". But I'm going to challenge people who say things against the notion that the historical description of Kuang was unnecessary: every time Kuang chose to give the readers historical context has served somehow to the narrative.

I remember early on in the book when Robin was still a teen walking through London and reading anything he could put his hands on, and then we get two paragraphs of historical and political context for the time, then Robin comments that he didn't understand why this mattered so much. That paragraph served so much, both because it made us know a little more about Robin and because it served to make us understand the profound environmental change England was going through at the time.

And every time she did this, it served for something. Again, Babel is a historical fantasy, it is supposed to make you think about the point Kuang is trying to make but you won't understand it if you don't know the context of which Robin and the other characters in the book are coming from. It was a time of decision: either England would consolidate itself as an almost all-powerful oppressor, or it could go down… if the oppressed people - who share a common enemy - understood their responsibility to do something.

The strikes of the English working class, the violent acts of rioters, the advancement in technology, the possibility of the Opium War, the colonialism… it's all important. It's important because it allows us to understand the deep connection between it all. It allows us to understand who profits off of it, and who doesn't; who is able to understand and who isn't. It's why Letty is upper-class. It's why Abel isn't.

It's not as simple as some people think to understand colonialism, the flows through which one thing is tied to another. Why do people ask "How does this affect me?" when we point out deeply unfair things like unpaid maternity leave (I actually saw an American once saying she "wouldn't want her tax money to go to someone who didn't plan through"), like the fact people starve when we have the ability to feed a world and a half, of that Palestine is going through ethnic cleansing? Because they are unable to understand how closely their lives are tied to other peoples they have never met and probably never will.

Kuang's message is not "colonialism is bad", she's saying "These are all the forms through which colonialism is bad to everyone but a few, do something about it", she's saying "Every single one of your struggles is tied together in more ways than you even understand. A person in Haiti, in China, in India, in the other side of the world, has more to do with you than these white rich people, fight with them, stand with them."

Fifth, I can't believe I gotta say this but I'm not going to even bother with you if you think this book is somehow "anti-white": just get over your main character syndrome. We're talking about a historical fantasy set in England in the epitome of colonialism through the eyes of a person of color. Of course, most white people are gonna be bad, get over yourself ffs!

The actual entitlement to the protagonism white people have is maddening. As a white woman (in Brazil, at least), I'm ashamed of some comments here. It's not because white people in this book are majorly racist (which, according to the setting is 100% accurate) that Kuang is talking about you (although, if you're so bothered by it, it's probably about you anyway). This is a book about the experience of people of color under the oppression of colonialism: white people are the problem!

You can't just expect someone to write about colonialism and not talk majorly about race. White people reap all the privileges of this system and not just that, they are responsible for it, and all the crying about being the bad guys is just insufferable (they're actually so right about having to console Letty once she learns about the racism they suffer).

Be f*ing accountable for your privileges, take responsibility for your internalized racism, and be accountable for the system that privileges you. It doesn't matter that it wasn't your fault, that you didn't set up the system, you still benefit from it anyway so get a grip. This story isn't about you at all, it isn't about how some white people fought against slavery or oppression, it isn't about you.

Let's be very clear about this: most white people who fought against slavery did so to serve their own interests, exactly as Kuang points out. This doesn't mean none of them were good people who actually believed slavery was bad but we're talking of a time when racism and racial discrimination weren't even discussed seriously. Most white people, even the ones against slavery would have a deeply ingrained racism in them, so get real.

More than that, though: if those people who actually have no shame in saying Babel is "anti-white" had actually read the book through, they would know that some white people actually help and are good people in the story.

Anyway, Babel is so good, it's so painfully real and so passionately well-written. You can feel Kuang's love for her people, the struggles of what it means to love something but still not be a part of it, the deep understanding of how the world works, and how intricately every single thing in our lives is.

I just felt so heard (as a person from a third-world country) reading Babel, like someone was telling me all this rage and indignation I feel is justified, it's valid. I just treasured it so much, how I identified with Robin's need for security contrasting with his indignation for the price of it; with the rage Griffin carried around him, sharpened and well-directed even in its volition; with the love Victoire had to learn to have for her country and its story; with all the pain I was able to share with someone who understood it.

It's an honor to allow words to change me so fundamentally. It's humbling to realize I'm not alone, that my actions and my feelings are shared by other people. It is really precious, you know, to be able to become a better person than I was before because of a book.

[ask-whitepearl-and-steven]

You don't have to answer this if you don't want to, but how has your opinion changed on Steven Universe now than when it first aired? Like I have fond memories of watching the show while it was airing but now I realize that it had a lot of problems that I feel like a lot of fans either flat out ignore or bend over backwards to make sure their rose tinted glasses stay on.

... okay, fair question. Let's talk about this.

I'll try not to wax poetic too long, but there are a lot of things to be said here.

First and foremost - how has my opinion changed since the show has ended?

Simply put - it hasn't.

When I started watching Steven Universe over 7 years ago, I didn't have much knowledge of it. I sat down, saw a few of episodes and went 'well, this is a silly show for kids with a goofy but loveable protagonist... but it seems like it's also incredibly charming with its delivery and has some nice, more complex themes about loss and healing and grief throughout.'

And if you ask me what Steven Universe is now... I would probably say that exact same thing.

Am I wearing rose tinted lenses? Interesting question.

What ARE 'rose tinted lenses' in this context anyway?

What do these lenses represent? What do they obscure?

Since you didn't go into specifics, I can only assume what you're referring to when you say that many fans ignore the show's problems.

There have been many discussions surrounding various aspects of the show and how it might be read as 'problematic' (ahhh how I've come to despise that word.... without context, it has all the descriptive power of the word 'icky' - none of the critical details and all of the emotional punch of scrunching up your face like a cat that just sniffed a lemon...)

Is this about something as simple as the 'SU doesn't have a consistent size for its characters' debate?

Because that has been gone back to, over and over again, and proven to be a point of opinion. SU favored allowing storyboarders to show off their personal flourish, and even though Peridot was 30% hair in that one episode, it did not overall take away from the plotline being told, which was their goal. If you wanted to watch a show with consistent styling throughout, you can always watch a 3D modeled show, but keeping that up was simply never one of SU's main pillars. And I feel like it didn't have to be.

Is this about something more complex such as the way Rose was presented?

...and how her arc was shown backwards instead of forwards - showing first the person she became in the end, and afterwards revealing all the growth she had to have to get there?

That was on purpose! And I don't think this is a problem. It's a feature, not a bug. Rose was never meant to be an ideal character - she was meant to be complicated and messy, and I think the fact that the fandom is so split in their opinions of her shows that the Crewniverse pulled that off really well!

She fucked over Bismuth! She forced Pearl to be silent! Those are both parts of her character arc that were never resolved because she died before she could resolve it - that's BY DESIGN. Sometimes, you just do something absolutely stupid and cruel, and you cannot go back to fix it.

Is this about the Diamonds? The fact that they were not put in space jail, after being put on trial for space crimes, and then publicly executed for space eco-genocide?

Here's the thing - most people I know who watched and loved SU are fully aware of that. But simply put - Steven Universe was not a story about Revenge.

Steven Universe was a story about love. A story about family. A story about truth, and lies, and hurt, and healing. About how sometimes healing doesn't happen. And how sometimes it will, but you won't be around to see it.

But it's not a story that can be all things for all people.

That is the thesis of my reply: It is a story.

It is not a manifesto. It is not a bible. It is not a Complete Truth.

It is a single story. Made by a group of very talented people, who cared about these characters, who did their best. They made a funny, emotional, well-drawn and complex cartoon show about the things THEY personally wanted to tell stories about.

Does it answer all questions the way everyone wants them answered? No. That's impossible.

Everyone wants a different story. Everyone wants a different solution, a different resolution. A different ending.

Steven Universe is one story. It cannot satisfy all people.

So when you ask me 'has your opinion of Steven Universe changed'? The answer is 'no'.

I went in, expecting to see a story. I saw a lot of what I liked! I saw some parts which I thought were interesting. I saw some parts which, yes, I disagreed with a little.

But overall, it's a good story. And that's what I expected, and that's what I got, which means I'm pretty satisfied. I love that story.

I feel like recently, there's this expectation of media, to be Everything For All People. And it's a bit unrealistic. No one call tell the perfect story. We are all simply telling the stories we want to tell. And people will vibe with that, more or less.

A single story, made by a small group of people, will never be that for you. There will never be an Unproblematic Cartoon that you watch that will be devoid of things you disagree with.

Being critical of media doesn't mean 'Criticize the FUCK outta that media, and the one with the least criticisms is the best one'.

Critical thinking is about evaluating things critically - that means being critical of YOURSELF. Being critical of your OWN reactions. Asking 'why did I like this?' and 'why did I dislike this?'. Asking 'this doesn't mesh with me, but who WOULD it mesh with? It isn't for me, but who is it for? Who would it hurt, but also who would it help?'

Some people HATED how SU: Future ended. They beat their fists on the wall and cried about how Steven was leaving his family behind, and how THEY could never imagine doing something like that, and how he was running away from his problems just like Rose had.

Me? I loved it. I think it was the right choice, and I COULD imagine it and thought it was in character. I thought he needed to be his own person, instead of shouldering everyone else's responsibilities for once. Was one of us more right than the other? Maybe not? Maybe that was the whole point?

Loving things is not about putting on rose colored glasses. Sometimes, choosing to love something with flaws is an act of rebellion. It's about knowing you have differences, but understanding that there is value in the things you DO agree on, and knowing you can consume that.

Healthy consumption of media does not mean throwing the whole cartoon away as soon as you notice something is wrong with it, like a bruise on an apple.

Healthy consumption of media involves critical thinking AND feeding yourself. Acknowledging you may disagree with parts of it, but not starving yourself just because your apples all have small imperfections.

Eat, for fuck's sake. Feed yourself. You'll feel better.

Thassit.

[tritoch]

Something that bugs me a lot in Dawntrail discourse is watching people who think they are defending the expansion argue away its best aspect. Because here's the thing: Wuk Lamat isn't like prior FFXIV characters. She takes up way more space than them. That's good!

A common thread you see in defenses is that people are complaining about things they were fine with earlier in the story. "Oh well actually Lyse was also the main character of Stormblood and people didn't hate her as much!" or "Heavensward is the story of Aymeric and Estinien and Ysayle, and the Warrior of Light doesn't do that much!" or "No one complained when Gaia jumped into the Eden raids, or when Emet showed up during Seat of Sacrifice" with the implied conclusion of "Wuk Lamat's not different from any other previous major character, your complaints have more to do with [sexism/transphobia/your crippling insecurity about not being the main character] than the way she's written." First of all people did hate Lyse. I get what you are saying but they very much did hate Lyse.

But Wuk Lamat is different. She's different because Dawntrail is unapologetically, full-throatedly her story. She is there at the start, she is there at the end, she is there basically all the way through except for a brief interlude. She is the character you talk to the most, she is also the character that talks the most. She has more of a complete arc than anyone else in the expansion. The antagonists develop much stronger direct and personal relationships to her than they ever do with you. Several major characters have relationships to you through her more than they do with you directly. At multiple points in the story you explicitly step back and are like "Go right ahead, queen, do the main character stuff." She 100% takes your role in certain ways. She's literally a new WL to your WoL!

and that's awesome! Like, holy shit! If you had traveled back in time and told me after Endwalker, "Hey, the next expansion will be almost solely and entirely focused on the character journey of a young woman, and she'll be nuanced and complex and allowed to fail but also allowed to succeed wildly, and her characterization will be interesting and her ideals will be very directly challenged, and she'll get to do some real classic 'sorry my noble opponent but I must stop you, even though I sympathize' shit, and the way she is framed won't feel excessively male-gazey, and she won't get stuck in the FFXII Ashe Miniskirt, and she won't just be someone you watch and clap for while the real protagonist and narrator is some random guy in her entourage," I would've been like "haha, okay, I like FFXIV as much as the next guy but I don't think it's shaken its baseline sexism off enough to do an expansion entirely about a woman and her personal growth and what makes her a good leader, especially after Stormblood's mixed reception. And CBU3 definitely doesn't have the guts to make her even more of a main character than any other prior NPC, and you didn't mention this part future time traveler, but I also don't believe they'll be willing to cast a trans woman in the role." And I would have been fucking wrong!

Yes, Wuk Lamat is the main character. Yes, she does get more attention than other NPCs, or even your Warrior of Light. And yes, that's totally fine, and even something to praise!!! You don't have to run from it to accommodate people who are looking for something to complain about!

[faelapis]

hotd: team green or black? (or?)

rhaenys thoughts?

rhaenyra x mysaria…???

house of the dragon asks! VERY LONG ANSWERS AHEAD:

1: team green or black?

there's two answers to this - the intellectual answer, and the team sports answer.

the intellectual answer is that this isn't really "the point." both sides have (and will) lose a great deal. there are no winners in war, only survivors. a petty conflict between the rich will result in the death of many.

on a broader, thematic note, my impression is that a big point of the entire "song of ice and fire" is that the unjust hierarchy of monarchy and feudalism hurts people. especially the lower classes. they are affected when lords flex military might, when they put their own survival above the realm, when they act petty, selfish or cowardly, which they frequently do. the rare "peaceful" ruler does not justify the system. the lower classes also suffer the most in war. but the system hurts everyone - even the royals themselves. they are literally killing each other for power.

THAT. BEING. SAID.

i actually disagree with the take that you can't have some fun with the team sports aspect. this is a fictional television show. Fun is allowed. it's drama! murder! crying and screaming!!!

so while HotD has overall thematic messages, the show encourages you to enjoy the back-and-forth between the characters. i don't begrudge people for their stan wars on twitter. we all know this is a fictional show - and its okay to be ruled by your emotions when watching fiction.

so. with that said? team black, 100%. i think they have more compelling characters and reasoning for their cause. fundamentally, their cause is to put a woman on the throne in a society ruled by traditional patriarchy.

look, i love alicent for her complexity. she is a well-written character who makes sense with her society... but she is not a girl's girl. she is trapped both by external forces of patriarchy and its effect on her own mind. she is stuck fighting for men and fulfilling wifely duties - never fighting for herself.

she seems pretty miserable, at the end of the day.

yes, rhaenyra is also complex. she's often a bad person - but sometimes, i like seeing a strong woman on a dragon do some crimes :) especially one who has had to fight for respect as often as rhaenyra. that's compelling tv, even if Monarchy Bad.

the greens have A Point somewhere, about stability > rhaenyra, but they are also clouded by self-interest. they didn't even TRY supporting a woman. (also, remember, this is emotion/vibes-based.)

the "aagon's dream" misunderstand was initially frustrating, which also makes me side against the greens a bit more. i like when characters are compelled by real, sincere differences in opinion. i dislike when it's just a misunderstanding that can be easily quelled.

and alicent DID have real motivations, previously! she was right that rhaenyra would have reason to kill her children to claim legitimacy - even if that's more of a Matter of War now than a real intention of hers early on.

oh well. one good thing about the misunderstanding is that it didn't actually convince anyone other than alicent. otto hightower and the council were already planning a coup. it seems mostly that it was a good tool to further their cause, not something that actually convinced the masses on a deep, personal level. you can also make the case that alicent "heard what she wanted to hear".

but it doesn't really matter because nobody was going to suddenly switch sides. the material reality is more important: the council wanted aagon. otto wanted to secure his interests. alicent wanted to secure her children's safety. the war is already happening, so alicent's misunderstanding being cleared up doesn't change anything.

and it causes alicent to realize she doesn't really have much power. society around her will keep turning, and her influence is very limited. the rabble may hate or worship her, and she has little control over it. she may be important in the council, or dismissed from it. which is leading her on a compelling arc that i'm interested to see where goes!

2: rhaenys thoughts?

very few! uhh... she seemed nice? i like her death scene?

the show seems to use her symbolically as a shorthand for "what a good woman ruler could be like" for the kingdom. but i don't know if it would've played out that way. it is hard to tell, because if she WAS queen, the society she lives in could have turned against her. or maybe she could have found a way to earn their trust. maybe viserys would've been chill enough to support her claim (probably?). but we don't know. she's The Queen Who Never Was (tm).

3: rhaenyra x mysaria?

ok so, i do actually have a hot take on this, cuz i've seen some call it "rushed." it may ruffle some feathers. here we go:

i dont think every gay kiss has to feel like an "earned" 50k slowburn fic. it's well-established that instant or near-instant attraction is a thing. i dont think it will be "endgame," but i dont think it needs to be.

i think sometimes - often in this show - you see a man and a woman meet and fuck the same night. people tend to just accept that. not every case of attraction has to be based on a Deep Bond of Many Years. sometimes, a man and woman on this show have no real bond, yet as soon as they Walk Close to Each Other, it's accepted "they will fuck that night."

i would also suggest that not everything is literal. it's addressed in canon that rhaenyras' attraction to daemon came hand-in-hand with what he represented to her. which was, in a word, freedom. she wanted to BE him more than anything.

if we take a non-literal approach, what might mysaria represent?

right now, i think its rhaenyras desperation for someone to listen to her. her council belittles her for being a woman. it protects her like a "daughter" rather than a ruler. mysaria both listens to her, and plots with her on equal level. in a way, she represents (and yes this is a somewhat cliche thing in gay pairings, but not for no reason!) a sense of equality and mutual understanding in a patriarchal world.

they are not "literally" equal in terms of rank - but again, it does not have to be completely literal. mysaria feels Treated like an equal by rhaenyra. she's trusted (and given agency), and earns rhaenyras trust (+expands her own agency) in turn.

mysaria additionally seems to represent a different idea of rebellion against patriarchy - an involuntary one. because she cannot perform its most core obligation of (presumed cisgender) womanhood: she cannot bear children. she must find other forms of "worth" in the world. she has no choice.

rhaenyra herself desires to take up sword, rule in a "masculine" way. so being the only other woman there + both of them standing outside patriarchys desired paths for them + being able to help/depend on each other... seems, to me, to serve the Themes of rhaenyras repression vs liberation well.

not to mention, it's interesting in light of rhaenyra being kinda gnc-coded in... other ways!

anyway. like i said, i Highly Doubt these two will be any kind of "endgame." but that's okay. sometimes, you dont need an eternity together - you just need a moment.

i think there's a certain breed of fan who sees many things only through shipping. so if there's not a long, "satisfying" arc of these two developing feelings for each other, it's a "badly written ship." especially for gay couples. and i don't think this is even conscious homophobia, i think its (partially from queer viewers!!) because they WANT to root for those ships. they WANT a gay ship to feel perfectly "right" in a heteronormative world.

well i'm sorry to say, this show is not a romance. it is not about ships or the idealized, perfectly developed couple. sometimes, people find an attraction to one another in ways that are not ideal. shit happens. people get lonely. people find relief in the only other person there who seems to understand them. sometimes it's quick. sometimes it's the opposite of a 50k coffeeshop slowburn AU.

but that does not mean it's bad. it's just reality.

[ramblingguy54]

The more I think on it, the more I believe Wild Robot is arguably the perfect Dreamworks' movie for myself.

Roz & Brightbill feeling like outsiders to their respective origins really sells the weight of how truly lost and lonely both are in their pursuit of understanding what to make of it all. Their dynamic being brought together through heartbreaking misfortune is immensely profound. Makes me reflect upon what own my mother went through trying to fit in with her family, but never could. Just as I have always been insecure about trying to figure out my own place, when she brought me into this world and a big family. In retrospect, we both felt "defective" for our own reasons.

Usually, I don't cry often at movies, or anything for that matter, but their internal struggle of acting like a natural mother & son drives a knife through my heart in the best manner. A surreal mirror of my own life struggling to feel okay with being myself. Further reinforcing how much I love my mother went above and beyond to give me a life of happiness, in spite of whatever bumps in the road happened.

"The accident that killed your family saved you. Funny how life works...?"

The Wild Robot's biggest feat, if not one of many, is managing to make all the denizens of this island not feel insanely mean spirited. It is more so capturing that harsh aspect of nature's morbid atmosphere. In this regard, those chances of Brightbill making it as the runt of that litter were practically nonexistent without Roz's unexpected arrival. He likely would've been either killed by nature's intense elements, a lurking predator of some kind, or end with his biological mother giving up on helping him learn to fly. It served to emphasize nature's survival instincts, in contrast to Roz's evolving compassion for Brightbill. No one else wanted to help the poor kid out because all they saw was dead meat, more or less. Even Fink, despite warming up to Brightbill, wanted to eat him right off the bat after coming across his egg.

Brightbill's weak wings weren't psychically capable in achieving normal flight, much less even a full on migration. However, Roz's determination allowed him to be able to survive from winter, just like the rest of his species. It's the beauty of showing kindness, even to those who may or not like you that can inspire emotional growth. Learning to stay optimistic in an unforgiving environment can bring out the best surprises from places you'd least expect it.

"This is my migration. And when it is time I promise I will find my way home."

The Wild Robot's heavily endearing lesson about kindness persevering makes its ending feel entirely earned. The animals don't just get along with each other right off the bat. Almost dying from that terrible winter storm was a serious wake up call they can't rely on being by themselves forever. Survival instincts or not, it's about opening yourself up to the possibility of trusting and relying upon genuine emotions. Much like Brightbill's entire character was learning to accept Roz did genuinely care for his well being as his mother. Tragedy may have created their situation, but it doesn't define whatever comes next in building a heartfelt connection.

Honestly, it's why I believe The Wild Robot is among Dreamworks' very finest stories they've animated to life. Taking basic ideas spicing them up to feel more emotionally introspective about ourselves. Hell, I'd probably place at it the very top of my number one spot in my favorite Dreamworks' content. It seriously affected me in ways I didn't expect. A bold statement to be sure, but that alone should be a damn great enough reason, as far as I'm concerned.

A simple story about parenthood can do wonders. Especially when it's executed in this caliber of writing. Chris Sanders and his team are legends in their own making.

[hellslayersomething]

I feel like I should write out some proper thoughts about my opinions on Veilguard, or at least an outline for the much longer essay that is currently calcifying in my heart. It's a mixed bag of a reaction, and I'm not going to compliment sandwiching any of it--this is all just stream of consciousness, so I'm probably going to snag on the negative and spiral down that pretty quickly. Spoilers, obviously:

I liked the battle system. For the first time in a DA game, it actually felt satisfying to play and had its own identity. I do wish the Pokemon element aspect was a little better balanced among the companions, but overall it was great.

That said, considering the length of the game, they needed way more enemy diversity, especially with the bosses. Eventually I was just fighting dragons, and every dragon had essentially the same moveset, one of those moves being "the dragon trips over her own dick and face-plants on top of Rook", which sure doesn't make the fights feel epic. Even very unique characters, like the Gloom Howler, were just reskinned basic demons when it came time to fight them.

The decision to tie companion approval to companion levels was a mistake. A massive and extremely obvious mistake. No wonder there are no disagreements or tension among the group--the game can't let you lose affinity with your team members, because then it would have to account for you leveling them down. The gameplay design here strangled the narrative design in its crib.

Speaking of narrative design: while I appreciate that the modular approach to companion arcs was experimental, it was extremely weird of them to take that approach in the only DA game where all companions are required. The story doesn't have to be written to account for the fact that you might not recruit some of them or they might die early--so why didn't they write one story about Rook and their seven friends instead of one story about Rook and also there are seven smaller, unrelated stories of extremely varying quality shoved in next to it?

The hyperfixation on the companion quests paired with their complete compartmentalization from each other means that each companion basically has nothing going on outside of their own quest and very few opportunities to engage with other characters' quests.

I was so starved for conflict in this game that I went from Solas-neutral to Solas-positive because he was the only character who the game allowed to be a bitch to me, and I respect him for that.

I do like all the horrid little sons the game gives me. I think I would appreciate them more if there was anything bad or tense happening in the story on a personal level that required some comic relief, but I am a sucker for a funky little guy none the less, and Manfred, Assan, and Spite are the perfect trifecta of funky little guys, as far as I'm concerned.

"We're only going to do character cameos if it's important to the plot." *does what they did with Isabela* Okay, devs.

"We aren't importing player choices but we won't override your decisions either." *several codex entries overriding player decisions later* Okay, devs.

I like the companions, generally. I see their potential. Fanfic will do right by them. Harding, in my mind, is the weakest of the bunch, just truly having no personality to speak of and talking like she was written by a Boomer who thinks that Millennials are still teenagers. (Everyone responsible for her uttering the phrase "Awkward..." like she's a character in 2011 quirky girl sitcom should be tried at the fucking Hague, istg.) And while I like Bellara, it was extremely frustrating to have a character that's just "Merrill, again, but with the edges sanded off". Taash and Emmerich are also glaringly the last additions in the writing process, each belonging to one of the two most underbaked factions and neither of them being tied to any of the game's few "big choices". There's promise in this cast, but I don't think any of them came close to realizing their potential.

Davrin and Emmerich's companion quests felt appropriately scoped to the size of the questlines, had good emotionality, good antagonists, and expanded on the lore of Thedas in ways we hadn't seen yet.

Lucanis's companion quest had potential, but it was too unfocused with three antagonists, too much attention to the boring Venatori shit, and not enough examination on Illario's motives or Lucanis's relationships with either Spite or Illario.

Harding's companion quest was fine, I guess (the people are starving for dwarf lore), but Harding could have been swapped out with literally any other dwarven character who wasn't Sandal and nothing would have been different. (Also weird that the whole quest was basically about Sandal while simultaneously fully removing Sandal from the narrative.)

Bellara and Neve's companion quests were just nothing. Just a whole lot of nothing. And Neve's also suffered from what I like to call "machete editing", where it is glaring obviously where things were cut, changed, moved around, and added at the last minute.

I say, from the bottom of my non-binary heart: Taash's companion quest is total ass. Real nice of Mae to come out of hiding and risk being found and executed by the Venatori to give Taash a Queer Theory 101 class, though, I fucking guess.

Is Lucanis's romance bugged? Apparently I'm not the only one who had that thought while I was playing it, so now I'm wondering. Like, there's no way they made it Like That on purpose, right?

Why and how are the Venatori still a force in Thedas, never mind a force with numbers so great (in spite of lacking a central leader) that they were able to simultaneously occupy the two largest cities in Thedas?

They literally didn't even try with the Antaam. The Venatori are at least theoretically still working to try to restore Tevinter to its former imperial might. The Antaam are just invading countries for literally no reason except ill-defined power grabs. Given the racial coding of Qunari, this writing choice sure is...something. (And that something is racist.)

That said, the revelation that the Butcher did a military tour in Europe and fell in love with the culture and just wants to drink wine and visit art museums now is fucking hilarious.

What the absolute FUCK did they do the Crows. I like the Crow characters from Tevinter Nights/the comics, and Zevran is my favorite character in the whole damn franchise, but they completely whitewashed both TN's mafia take on them and their original portrayal in DA:O. But it also doesn't really retcon anything, making it instead seem like the human trafficking and torture and sexual abuse that Zevran suffered at the Crows' hands A) only happened to him individually, and B) are fine, actually??? Even the very few times that characters express reservations about working with Lucanis because he's an assassin, if you play as a Crow, those concerns get immediately backpedaled, so the Crows end up being so ironed out that the game doesn't even let characters say of the Crows, "Murder is bad," lest it hurt a Crow Rook's feelings. That is how conflict-averse the writing is.

So I guess everyone in southern Thedas is...dead now? Several characters survived long enough to get a mention from the Inquisitor, but by the end, it sounds like Orlais, Ferelden, and most of the Free Marches are pretty much donezo. When Epler said the events in southern Thedas didn't matter, I didn't expect that to mean they were going to nuke the damn place. Even having generally enjoyed VG (in spite of all my criticisms here) that, uh...doesn't leave me enthused about the future of the franchise, ngl.

The layoffs of several writers (and other Bioware employees) before the game's release was obviously heinous. But after that secret ending, I'm now of the mind that of the writers that remain, at least a few of them need to be demoted. Like literally what the fuck was that. That was the dumbest plot point to ever appear in a Dragon Age game, and that is a high bar to clear. If you're not going to acknowledge our past choices, then keep Loghain's name out of your fucking mouths.

[lizzybeeee]

(Same anon) It's also just a lot harder for me because Solas in Inquisition was trying to take down the Veil in a world that was genuinely shitty to elves, mages, and spirits (nvm that until this game I was 100% sure that he was trying to do this more for the ancient elves, like why else imply there are more out there to Abelas? I guess he was just being polite?) Veilguard depicts Thedas as being largely okay with mages and spirits even outside of Tevinter and pointedly doesn't depict racism against elves outside a handful of throwaway lines. So they had him going at this with the same conviction from DAI, of a man trying to reverse the slow genocide of his people, but they've boiled his motivations down to "The Veil is unnatural" Like. How much more awesome if we could have convinced him not to destroy the world because of a culmination of choices in this game and all the others that made Thedas a kinder place idk man. ngnegnwgnf sorry for ranting in your inbox, I still liked Solas enough in this game but it was really bittersweet that they just dumbed down his motivations. I love your idea for influencing the Inky though, it definitely should have been a choice closer to the end and allowed for more variations (ideally all Inkies should have that, not just the Solavellans)

Hello again, Anon! :)

100% agree that the sanitization of the world and lore absolutely hurts Solas's motivations - especially if you look at it solely from what Veilguard gives us and with no background from previous games. All of the previous games, mostly Origins, were really effective in conveying how shit life could be for an elf - and how inbuilt this prejudice against the elves was in all aspects of Thedas.

The chant of light removing the canticle of Shartan, the march on the Dales, the struggles of the Dalish to simply live, the treatment of elves by the ruling class/chantry/ and others in general...it all painted such a bleak outlook for the elves and showed how ingrained this prejudice was in all aspects of Thedas. They had no way out - the structures of power in Thedas would fight them at every turn - which was why Solas being set up as a way for them to fight against all these systems was so compelling! You want the elves to win - but it will be at the cost of everything else if Solas goes ahead with his plan.

(You can definitely also make an argument that perhaps he's using them just to restore the world from before -> Felassan argued with him about this: to see the world as it was as real and worth improving.)

DATV felt divorced from the previous games, and its reluctance to meaningfully go into issues surrounding the lives of elves in Thedas - all the ugliness that brings - really did nothing to add to Solas's motivations for bringing down the Veil. If anything, I got the impression that he does not see anyone in Thedas as being 'real' and that he's simply doing it out of regret and to soothe his own ego/guilt. If this game wanted me to be sympathetic towards Solas it didn't do a good job of making me feel it, especially when you look at the totality of everything that Solas has done.

What I took from Trespasser was that Solas wanted to heal the wound he had left on the world - the Veil - and what he had inadvertently done to the elves. He had given everything he had to free the elven people from oppression and tyranny, only to inadvertently leave them vulnerable to the same oppression from others -> taking away their magic and long lives in the process. He was so blinded by his goal (stopping the evanuris) that he failed to see what his own actions might have wrought in the process.

Trespasser set up the 'Elven Rebellion 2.0' with a Solas who was torn between the world he once knew and the world it had become in spite of his intentions. Does he truly care about the elven people in current Thedas? Or does he just care about the world that came before? In DAI he was such a fascinating character because he could be so polarizing! People loved him! People hated him! Both were correct!

But starting the game with the ritual, sanitizing the world (no real signs of conflicts about spirits, mages, elves, anything really etc...), and simplifying his motivations to "fix fade -> be immortal/magic -> profit"...it just feels so shallow.

Solas: "Long before we met, I failed my oldest friend. She died for that failure. If I leave the Veil in place, I am destroying the world she wanted."

He spells his motivations out pretty clearly at the end and it's just...Mythal? He doesn't seem to care about the elves that are currently living in Thedas - not even Lavellan. Like you said, in Tresspasser I also got the impression that he wanted stop the slow genocide of his people. But apparently it was 'Mythal All Along'!

The lack of supporters/agents really gives him no credence to say that this is anything that the elves want - elven Rook can even call him out on it and he doesn't care. For a character whose own trauma began with bring coerced into a body he didn't want he doesn't give a shit about doing the same to thousands of other elves.

It's far less compelling, to me at least, than what I felt was set up in DAI: the Dread Wolf, god of rebellion, rallying elves after ages of systematic abuse and oppression with the goal of liberating his people and restoring the world that was - the world he inadvertantly denied them with the consequences of his actions. Instead it's just Solas doing his own thing because he's right and he needs to fix what he did wrong for Mythal.

It would have been great to be able to convince him to change his mind/ pursue another path as a result of the culmination of our actions throughout the series. It could be a nice nod to our past decisions and a nice conclusion to see the results of those choice in missives/codex entries. Same as the 'south can repel the blight' counter idea, have their be some kind of 'convince Solas to pursue another option' tally that demonstrates that this world is willing to change and he should be too.

[geometricgiovanni]

YOU ARE NOW A PRETTY PRINCESS! ✨

This blog contains references to threats and violence. You have been warned.

(hey guys cool sexy man here to tell you first half is in-character, second half under cut is out-of-character)

HELLO! I MADE THIS ACCOUNT OUT OF SPITE OF THAT DISGUSTING THING THAT PLAGUES THIS GOD-FORSAKEN SITE!

NO, DON'T ASK ME ABOUT IT. IF YOU DO, I WILL CRUSH YOU! LETHALLY. You will feel pain. also he blocked me on all 8 of my accounts so um, y'know........

ASK ME THINGS! ASK ME TO DESCRIBE IN EXCRUCIATING DETAIL ASPECTS OF MY LIFE! ASK ME TO DO OBSCURE ACTIVIES THAT WOULD SEVER MY LIMBS IF I HAD ANY!

So here's some info in a similar format to my other blog, some things, such as boundaries, will be copied and pasted:

Blog Information✨

This is an ask/rp blog for Jeremy from regretevator, specifically the Jeremy referenced in @displ3azant. I might use this blog to more freely talk about my specific headcanons about characters from the perspective of an outsider, so that account is likely the only specific one referenced on this blog.

Jeremy in this blog uses he/any!

MAIN TAGS:

#geometric asks - Asks

#geometric posts - Non-ask related posts/reblogs

#ooc - Out-of-character post

BLOG OWNER 🔥

Hello! I am Hex! Yes, you will see me talking to myself! No, do not comment on it. Please refer to me using he/him or it/its pronouns.

My other accounts are: @hexexists - my main blog, if you receive notifications from this account, please know it is just me! @hexational - my regretevator blog @displ3azant - afformentioned Unpleasant rp blog

I'll try to respond to most asks with a drawing of some variety, and if it's something I can use to reveal little ass-shit and bull-dumps about my version of Jeremy.

Please note, however, I am not just one singular guy but also a senior who should really be spending his free time studying, so sometimes I will just give a text response.

Also to note: I am 17 years old, therefore a minor! Even if I was not a minor, I am still not comfortable with weird shit! Keep it in your fucking pants, asshole! Apologies if I sound rude, but holy shit the only blog gets SO many weird asks! I will just be blocking and ignoring any freaky anons, apologies if you are my friend trying to mess with me, but I genuinely cannot take any more risks.

Boundaries ✨

Shipping content: Shipping content is okay, but I don't care much for romance personally and so will likely not play much into it. Please don't push anything, I guess, and nothing that promotes proshipping or any kind of literally illegal pairing. If you dislike any direction taken ship-wise for this blog, then block me and move on with your day.

NSFW content: NSFW CONTENT IS NOT ALLOWED. I am a minor. Thx. Also, "suggestive" jokes are very selectively okay. Basically, if it makes me uncomfortable or is literally disgusting, it will be ignored and likely deleted, and I will probably make fun of you.

Roleplaying: I am totally okay with roleplaying and sending/responding to asks in character!

(ps: i'm also happy to rp with other regretevator ocs too, i think those r super duper cool)

That's all, really.

your mortal enemy,

-Hex

[radioactive-dazey]

Why I think people should be allowed to “water down” Remus 

Hi. I’d like to preface this by saying, I don’t really care how people write Remus. Typically if there's an interpretation of him I don’t like, I ignore it/don’t engage with it. Additionally, I personally do not like the interpretations in which I’m defending (baby-ifying and toning down his character are very often hard for me to consume due to it hitting a certain mind-numbing extreme, and it Takes Me Out of the story if it’s overdone). 

Also, this may get tangent-y, a lot of it boils down to my personal interpretation, how I like to write him, and the stuff I read/avoid reading.

Pings: @finchandthebard @existential-grackle @micropoet

My major point: Writing intrusive thoughts can be hard or disturbing. 

I have intrusive thoughts that overwhelmingly play heavily into my trauma. Because of that, I have to work into overdrive to portray Remus differently than how I experience intrusive thoughts. I have more fun writing him to be a chaotic entity rather than a disturbing one, it often fits better into the story if, instead of having him create visuals of murdering Thomas’s friends, he instead makes Thomas/others experience body dysmorphia, convince Thomas there's something wrong with his food, making sexual innuendos, etc. This is how I chose to “water him down.” Accurate portrayals of intrusive thoughts, includes examples of things he’s done in canon, but it very rarely goes further than this for me due to my own comfort levels, and what is necessary for my fics. 

Writing extreme depictions of intrusive thoughts can be difficult due to it being detrimental to explore and engage with. It does have an impact on your mental health to only engage in the disturbing. (Side note: Do what you want, I’m not your mom). There’s already so many disturbing and scary parts of the internet and the greater world, and like me, many people use writing as a way to escape those topics. It goes both ways: if someone is inspired by their experiences to write Remus as disturbing or even more disturbing than how he appears in canon, they can and should do that! But if someone rather not, then that's okay too. I think it’s more harmful to expect every version of Remus to be a disturbing, sexual innuendo creating, Jeffery Dahmer idolizing creature than it is for someone to write a version of him that is “oc-ified.” 

Additionally, it can be hard to write in a respectful way, which is why I think some people avoid doing it. Remus is more digestible when he’s heavily censored. And while this could turn into an argument about how people who experience intrusive thoughts regularly may find it offensive to censor/remove that aspect of him, I personally don’t care (refer back to my statement of “If there’s an interpretation I don’t like, I ignore it).

Remus representing intrusive thoughts is not something that's always suitable for a fic or something that is able to be portrayed in fics. Take human Aus, for example. This can be mostly worked around, writing him to have intrusive thoughts instead of creating them, as Virgil is written to have anxiety rather than representing Thomas’s anxiety. However, beyond just finding it uncomfortable, someone may feel hesitant to write a scene indulging/engaging with/portraying intrusive thoughts. Not because they don’t want to, but rather because they can’t or are inexperienced. I think its weird to expect it automatically, especially if its a non-Remus centered fic. 

This all being said… In my experience, It's hard to write for Remus when so much of his character IS tied down to his role as intrusive thoughts and dark creativity. Attempting to separate him from the role is like trying to scrape gum off the sidewalk. I think this is why it's so jarring to see interpretations of this occurring; it’s just not Remus after a certain point. 

Ultimately, I think it boils down to a few ideas: personal interpretation and what the writer is willing to create. So really, I don’t think it's as deep as people are making it. The fandom heavily misinterprets all the characters anyway, and you can make similar arguments about any one of the sides (EX: Virgil is a helpless anxiety case (infantilizing anxiety), Roman is an obnoxious dick (just blatantly wrong, I could sit an analyze his character all day if given a chance), Patton is an emotionally manipulative baby (literally trying his best, makes mistakes, is working on it), and Janus is a glorified alcoholic who will fight a bitch (hmm… unfortunately this misinterpretation is inching ever so closely to canon, but once again, that discussion is for another day.)) 

Frankly, there are bigger issues I think the fandom should care about, such as how the Real Life Thomas keeps sweeping issues under the rug, but sure, let’s talk about Remus. 

Edit: there's a point to be made about the interpretation leading to a complete misinterpretation of how intrusive thoughts work as a whole, i.e., people thinking intrusive thoughts and impulsive thoughts are one and the same. I failed to consider this 😮‍💨 and yeah, that's really annoying but I think it's a separate broader issue that can't fully be tackled in a post about how Remus is written

[sillyyuserr]

i am no hater or at least i don’t like to be, but do you (aoikane/aoiaoi shippers) actually know peace? Do i just happen to stumble upon the mean ones everytime or are ygs genuinely just so hateful? Please i don’t mean to be mean but like do you genuinely exist? No joke every time i have interacted with an aoikane/aoiaoi shipper they have been so mean and aggressive towards terukane or any other alternative ship including either aoi or akane. Not even just interactions but viewing you like in action and YOU interacting with OTHER aoikane/aoiaoi shipping people has made me like lose hope in the world. The main reason i come to hate ships is not because of the characters (sometimes) but mostly because of the people who ship them themselves. I mean for example I would die to see Nene and Hanako get together hell yeah but that’s mostly because theres no homophobia lingering around them?? Not only is there no queer subjects or matters involving either characters but the main crowd of tbhk fans just enjoy it above all else don’t get mad at anyone for shipping any one of them with anyone else because they know damn well its so clearly established and loved by everyone they don’t need to worry about it ever becoming something it’s not.

i would be so down to say like ‘oh thats so cute akane loves aoi’ if you didn’t harbor so much unwarranted anger towards us?? What happened to being respectful?? (And it might just be the homophobic ones i’m not sure.)

Like touching back on what i said about Hananene was that for example there is no queer subjects/matter involving either of them, however there is with aoikane (debatably). For example (again damn) there is arguable evidence suggesting another male character has romantic interest in him. Which of course does not make him HIMSELF queer, but it does involve him in such an agenda (?).

there is a difference between a good way to handle this, and a bad way to. For example, you are a good/unproblematic Aoikane supporter if you:

Acknowledge that either one character is associated with homosexuality and that one character is the sole supporter of the idea, and realize that homosexuality can infact coexist with your favorite ship

Acknowledge that aoiaoi has a few elements to it that make some uncomfortable, and allow others to respectfully disagree with you

You are a bad/problematic Aoikane supporter if you:

Deny the possible idea of either one character being associated with homosexuality and openly deny/act on aggression towards it

Deny aoiaoi’s initial or ‘current’(?) toxicity

And someone who will straight up deny that aoiaoi had something wrong with it in the first place is someone you do not wanna be. It is important to understand that aoiaoi is a semi problematic ship, and i’m not saying this ‘because I’m biased’ i’m saying this because (i think) it’s true. At the beginning and even some aspects of now, aoiaoi was a very unhealthy + toxic relationship/ship, hence why a lot of people hated it, and it’s okay to say things like ‘omg i love how aoiaoi’s coming back yess!!’ But to say things that make it sound like aoiaoi was perfect all along and people who disliked it were ignorant or ‘straightphobic’ is just stupid.

Please just be nice guys cmon😭 i have never in my life seen aoiaoi/aoikane shippers JUST TALK about said ship always finding way to bond ab their hatred for terukane (subconscious homophobia or purposeful, we’ll never know)

anyway guys stay positive!!!! xxxx

[saltywinteradult]

What I hate most about the last Rhaenicent scene is how holier than thou Rhaenyra is shown to be, the writers aren't even trying to hide their bias.

In the first season they told us Alicent's evil for putting a child abusing rapist on the throne rather than their Mary Sue who's so perfect she won't even order Vaemond Velaryon's execution.

Then in the second season they have Alicent become a pathetic cockroach who will hand her son over on a silver platter to save her own skin. It doesn't matter if you see it differently, this was their intention: to show how much better a mother/woman/Queen/ruler/politician Rhaenyra is because she would scream bloody murder if anyone even suggested disowning Jace whilst Alicent doesn't even protest when she demands Aegon's head.

This show is not for Alicent Hightower fans, Rhaenicent as a ship is not for Alicent Hightower fans. I think the sooner we accept this the easier it will be to abandon HotD once and for all.

(I'm going to assume you're the same anon​ who sent me this.)

*Sigh* Okay. I've already said that I think Rhaenicent can't be canon without butchering the characters, like they have now done with Alicent, and therefore it shouldn't happen. Alicent has been made into Rhaenyra's bootlicker and I hate it. I have already said, very clearly, that I agree with all of that.

However, I have also said, very clearly, that I still enjoy Rhaenicent in some ways despite this. So why are you sending me this, anon​? Are you trying to convince me to stop liking the things I still like about Rhaenicent? Are you trying to convince me, an Alicent fan and a Rhaenicent enjoyer, that it's not possible to be both? Because I'm not the only person in this fandom who is both. We're in the minority, but we exist. You are entitled to your opinion that Rhaenicent and HotD are not for Alicent fans, but this Alicent fan has to disagree. It's not for you to decide what is or isn't "for" anyone other than yourself.

I agree that the writers' intention with that awful last scene was to show Rhaenyra in a better light - because that seems to be their intention with just about everything. This is an issue with the entire show, not just Rhaenicent. The whole story has been twisted to fit into a cookie-cutter pseudo-feminist narrative with Rhaenyra as the hero she was never meant to be, and every character, not just Alicent, has suffered for it. (I would argue that Rhaenyra's character has been butchered too. Making her a feminist hero is so much less interesting than she was in the book.) So as it happens, I don't see that differently than you.

But so what if I did? I'm sorry, but what the hell are you trying to say with a statement like "it doesn't matter if you see it differently"? I am allowed to see it however I want. People can and do have different opinions on art than its​ creator, or different opinions than you for that matter. That's literally just how art works.

And not to be blunt, but if you hate the show this much, why are you even here, anon? Are you trying to convince me to stop watching? Because if so, that's really not for you to decide. Why not just stop watching the show yourself and let other people do what they want? Personally, I'm still watching the show because while the writing is shit, I still think the cinematography is gorgeous, the special effects are great, the music is beautiful, the acting is amazing, and the schadenfreude of watching the Targaryens self-destruct spectacularly is as satisfying as ever. I enjoy some aspects of HotD and not others, just as I enjoy some aspects of Rhaenicent and not others.