#its my favorite fantasy world building element!!!

[backhurtyy]

i am once again asking people to put whales in space. specifically whale sharks. and make their spots glow. they're stars. that move. do you understand.

[a34trgv2]

Top 10 Cartoons I Hate But Many Others Like

#10. The Amazing Digital Circus: Yes, I'm aware only 2 episodes have been made of this cartoon. I'm also aware that both episodes have been praised by viewers and critics alike. As much as I would love to join in on the fun, I cannot ignore how badly structured it is. From the unlikable characters, the poor world building, the unfocused narrative to the lackluster jokes, poor handling of themes and lack of stakes, this it the kind of unmitigated mess that more infamously bad cartoons are ripped to shreds over. I will say that the animation and voice acting is well done so it's not all bad.

#9. The Owl House: Many people were disappointed by my disappointment with this disappointing cartoon. But no one was more disappointed that I was left cold by the show than me. I love fantasy, magic, mystical creatures and enchanting worlds. The Owl House should've been up my ally, yet in practice I wouldn't even spit in it's direction. With an irritating cast of characters, bad world building, formulaic plots, the writing was already on the wall. Then Amity showed up and it made the show unbearable to sit through. I'm all for LGBTQ rep, but I draw the line at a bully and their victim becoming and item. I'm sure Amity has some sappy sob story about how her parents pressured her into being an entitled brat, but she's still and entitled brat that shouldn't even have friends, nevermind a girlfriend, because her attitude STINKS!

#8. The Loud House: I've made it no secret that despite the warm reception and continued popularity of The Loud House, I was never a fan. I never found it funny, well written, or relatable. All I got from The Loud House was this is one of the most annoying dysfunctional families I've ever seen. I do think it's well animated and I commend the crew for moving forward with the show despite the disgraced creator's termination.

#7. Moon Girl and Devil Dinosaur: I consider myself a big Marvel fan thanks to the MCU and Spider-Man franchises. I never heard of Moon Girl or Devil Dinosaur before this show was announced, so I was genuinely curious to see how this would play out. Needless to say, I was not impressed. Despite having dazzling visuals and really good voice acting, the show is just badly made with terrible writing, unfunny jokes, dull characters, and repetitive action scenes. This show clearly has its fans, but unfortunately I'm not one of them.

#6. Jurassic World: Camp Cretaceous: Those who know me know I love dinosaurs and am a huge Jurassic Park fan. You'd think a cartoon based on the series would be as exciting and interesting as the movies. Well like so many of the dinosaurs victims, you'd be DEAD WRONG! This show shoots itself in the foot by having 6 unlikable and annoying characters, and not one gets eaten by a dinosaur. Not to mention it's sluggishly paced, the animation is stiff, and the score only reminds me of the movies I'd rather be watching. Clearly I'm in the minority here as I had a blast watching ALL the Jurassic Park movies, even the ones critics didn't like at all, over this.

#5. We Bare Bears: I like bears as much as the next guy, with my favorite cartoon bear of all time being Winnie The Pooh. Despite my fascination with this big, furry creatures, We Bare Bears never made me like the main trio, much less love them. They're all varying degrees of unlikable and the show isn't funny or well written to keep me engaged. They also did San Francisco dirty by making the people so unlikable. The one element that I think would've made for a much more interesting show is Chloe Park. Her character was utterly wasted on this stupid show as she's a kid with a high IQ and is in college but still wants to be a kid. She deserves better.

#4. The Mitchells vs The Machines: As much as I like Sony pushing for more expiremental animated films lately, this expirement didn't succeed in my book. Sure, the animation is amazing and the voice acting's mostly good, but tells such a generic story, has such incompetent and unlikable characters, and I will never get over the fact that Aaron Mitchell sounds like a middle-aged man and not, you know, A CHILD! The worst part about this film is despite it's best efforts, it is just NOT funny. It relies so much on cringy, outdated memes, weak slapstick, and dull visual gags and I never once found it funny.

#3. El Deafo: I was confused as to what this show was supposed to be based on the trailer. Watching it for myself, I found that it was more frustrating than anything. Don't get me wrong, I commend author Cece Bell for turning her personal struggles with impaired hearing into a comic turned cartoon and I fully understand wanting to tell a story from a deaf person's perspective. That said, though, I just despised the execution from the awful writing, the unlikable characters to the terrible sound mixing. As pure as the intentions were, they were sorely lost in the execution in my opinion.

#2. Frog and Toad: When I was a kid, I loved reading the Frog and Toad books. They were simple, yes, but the characters were so interesting and the illustrations were well crafted. This show should've been exactly what I was looking for in an adaptation of the books. What I got instead was a prime example of how NOT to adapt a beloved children's series. Despite having spot on voice acting, the abysmal writing, the incompetent characters, and the lackluster animation really soured the experience. I know the author's children were involved in this, but I don't think they did the books justice. The show didn't take full advantage of the medium and played more like mediocre live reading of the books.

#1. Summer Camp Island: I clearly struck a nerve with fans of the show when I said I hated it. Well, y'all will be please to know that your efforts to change my mind were all in vain. I just couldn't get passed how badly written it was, how hatable the characters were, how grossly unfunny it was. The worst part is that this is a world where anthropomorphic animals and mystical creatures exist, yet they can't tell anyone about the magic on the island. To this very day, I CALL BOLONGA!

Conclusion: I'm not saying y'all are wrong for liking these show and you definitely won't see me call them "overrated." I just wanna offer a different perspective on these popular and well liked cartoons. Some honorable mentions include Miraculous Ladybug (many people love it, I can't stand it), The Ghost and Molly McGee (you all know how I feel about that chatterbox), and the "adult" cartoons that received critical acclaim such as Rick & Morty, Smiling Friends, Bob's Burgers and The Simpsons. Agree? Disagree? Let me know in the comments and I'll see you next time.

[markrosewater]

Hi Mark! In the planeswalker's guide, there is a really cool description for the "Glitch Ghosts" that explains why they appear they way they do and it makes no mention of tech at all. In my opinion, that snippet of world-building is in-line with some of my favorites of other planes you've made. It gives a reason why the ghosts have the same aesthetic as modern horror tropes, but recontextualizes it as a form of magical phenomena. It's really really stellar. I love it. Please give a high five to whoever came up with that.

But, when I see that Duskmourn also contains random TVs and computer screens, it cheapens that explanation. Why come up with a magical explanation for the Glitch Ghosts at all, if you were then just going to include the other technology anyway? Why not just have the description of the Glitch Ghosts be something derivative like "these are ghosts made by corrupted/possessed tech"? It's way more boring, but now that's all I'm going to be able to associate with them.

I guess my complaint is that by including more mundane objects and technology in Duskmourn, it makes the actual magic and worldbuilding of the plane feel less magical to me.

Magic started square in the heart of high fantasy. Over the last thirty plus years, we've tested where we can extend the feeling of the game, and the feeling of worlds where magic plays a role. I don't think magic has to be tied to the past and there are a lot of cool properties that combine modern day elements with magic.

Any time we try something new, perhaps this is the change that's a bit too far (we do know we're pushing boundaries here), but what we've learned this many years in is that Magic is at its best when it embraces all different kinds of aesthetics. When it shows people that magic can encompass a whole slew of different types of worlds.

Yes, Duskmourn is different, but different is kind of where Magic excels.

[writtenbyjeanofarc]

#!! - 𝑰𝑵 𝑻𝑯𝑬 𝑪𝑶𝑼𝑹𝑻 𝑶𝑭 𝑻𝑯𝑬 𝑪𝑹𝑰𝑴𝑺𝑶𝑵 𝑸𝑼𝑬𝑬𝑵 — 𝐜𝐡𝐚𝐩𝐭𝐞𝐫 𝐨𝐧𝐞 ; ᴄᴏʀᴏɴᴀᴛɪᴏɴ ᴅᴀʏ

(Cross-posted from my AO3)

CHAPTER ONE - CHAPTER TWO - CHAPTER THREE

𝖌𝖊𝖓𝖗𝖊: smut.

𝖕𝖆𝖎𝖗𝖎𝖓𝖌: Griffith X You (fem! Reader)

𝖘𝖞𝖓𝖔𝖕𝖘𝖎𝖘:

Having been spoiled by your father as an only child after your mother’s death, there existed you, a young, yet rebellious maiden known amongst Midland as Princess Scarlet. Being the subject of envy by commoners who wanted nothing more than to overthrow the kingdom, you were rather…..indifferent. As a princess, you exercised pride in your achievements, deeming you fit for the role of succeeding your father on the throne.

Even after your father’s death caused by poisoning, your dream to have your own kingdom never faltered in the slightest. In fact, ruling over Midland with an iron fist has been made easy and simple considering your royal blood.

Subsequently, your ambitious demeanor and philosophy attracted none other than the military genius who led a group of mercenaries known as the Band of The Hawk. Sir Griffith; a man who never fell short of what were to be defined as a noble, if it were not for his common blood.

To put it simply, Griffith never planned on building his empire overnight. Instead, he harbored ulterior motives where he would rather…..bend you, the Queen, to his liking before taking over Midland.

….And the consequences of YOU having a fragile ego never ceased to reveal itself.

𝖈𝖜: none as of now.

𝕬𝖚𝖙𝖍𝖔𝖗’𝖘 ���𝖔𝖙𝖊:

No smut for the first chapter!

To minors: this space isn’t for you. Berserk is a warning in itself. Go away. Do not interact.

Anyways, I’m back with a new fic and it’s basically my own version while still keeping the canon verse of Berserk clear.

In this verse, expect certain things:

— Princess Charlotte does NOT exist.

— YOU are the Princess/Queen of Midland.

— The story will mainly focus on Griffith, not Guts.

Before commenting, I would like to caution you for potential rape/non-con elements (it’s Griffith we’re talking about here) to be depicted in later chapters of the story.

What I write is pure fantasy, and is mostly just me projecting on my original character (in this case, Queen Scarlet) who has a rather peculiar relationship with Griffith.

Anyways, grab some popcorn, and chill a little while we watch our original character slowly get taken advantage of by the devil himself.

The Kingdom of Midland. Such is a name given to the central region of the Physical World where nobles dominate and savages eliminate. One had the luxury of resting within the comfort of their own home while dining with only the finest cuisine made known to man. The other had to hustle and kill for the sake of money and survival…....while for potential evildoers and traitors, the sake of achieving their dream.

It was your coronation day after all, one of the most awaited events in all of Midland’s history. Following your father’s death caused by an incident of poisoning, the nobles immediately turn to you as a successor to the throne. You were a bit nervous, so to speak, but ready to accept your new role and give your speech as the newly appointed ruler of Midland.

It was already sunset, the halls decorated with red roses, bushes, and your favorite type of flower, the Amaryllis. You just loved the sight of red the way you liked your tea. Red, so to speak, was your favorite color. It just looks and feels powerful, like the way sunlight pierces its way through your eyes. You liked shoving your presence down people’s throats, to make them remember your name as you rejoiced in your own superiority as the new Queen.

Red was the visual embodiment of your dream—to rule and render yourself capable of building your own empire. Because of that, the King, your very own father, feared for your safety. And boy, was that prediction true.

Not only was your safety compromised, but prior to meeting the White Hawk who was addressed as Sir Griffith, things went downhill after that encounter as a sudden number of royal guards dropped dead. Not only were you disgusted by the smell of blood that filled the hallways the week before your coronation, but the five words whispered to your ear was what sent chills across your spine. Those five words made you shiver in questionable fear despite you taking it as just an empty threat.

“You belong to me, Princess.”

And then came the surge of mysterious events such as your father’s death.

Supposedly, you were expected to be excited for such an event like the coronation ceremony as you longed all your life to become Queen, but something about the whole situation didn’t feel right. You were at a loss for words, being unable to understand why your father was poisoned in an instant and how planning the ceremony felt rushed.

You shivered at the thought of meeting the Band of the Hawk once more, immediately suspecting that one of them killed your father.

“Our beloved guests, our crowning guests, respected parents of the nobles, and that of the civilians. Ladies and gentlemen, good afternoon.” announced the event speaker of the ceremony. “Once again, we have gathered here to witness the coronation ceremony of the Royal Family to be headed by Queen Scarlet and the rest of the officials appointed to serve her Majesty. Kindly rise for the ceremony proper.”

A huge audience of youngsters stood to give thanks towards your family for a job well done in leadership, singing songs of praise as time passed by. You were, of course, getting quite the goosebumps knowing your time is up as a princess. However, you can’t help but falter, thinking of your father’s untimely demise just about two weeks ago.

You were lost in thought, unable to pay attention to the songs sung in honor of you. Something was very wrong. You sweat and panted hard, not because you didn’t know what to say or do given the situation, but because you didn’t want to actually meet up with Griffith and the rest of his comrades due to some suspicions about the leader’s motives.

“Before we start, may I request everyone to observe silence as the ceremony begins to maintain its solemnity. Reserve your ‘hoorays’ for the latter part of the coronation. Thank you very much for your full cooperation.”

The rest of the coronation ceremony followed. You were nervous, biting your nails as you slowly prepared your speech in front of thousands. You knew Griffith would be watching

Tick-tock. Tick-tock. Tick-tock.

Alas, it was your turn to give out a speech that serves as a public declaration of your aims, intentions, and actions to be taken to further improve the economic and sociocultural growth of Midland.

Standing up, you could feel the eyes of crowds searching you from head to toe, but none of them ever gave you the impression that someone was truly watching you.

At the exterior of the venue, there sneaked a young man with white, flowing hair and a pair of blue eyes. It was him. Griffith. He didn’t make his own presence clear before you, he covered his tracks very well. But, little did he know, you could peek at his silhouette from afar. Knowing he made his way past the guards with extreme caution showed his prowess in strategy and disarming opponents with great ease.

Yes, he just wanted to hear your speech. After all, knowing how someone would open up about a fraction of their lives would be crucial in undergoing one’s plan to achieving their dreams, yes?

This was your moment. You let out a deep breath and spoke clearly as you cleared your throat.

“Greetings, my beloved fellowmen. It’s been a pleasure having to meet with you all to this very moment.” you greeted the audience with a friendly, approachable tone. “Throughout this memorable day, I was able to discern all your prayers dedicated to me and my family, especially in honor of my father’s passing. As an inherent successor to the throne, I have maintained a significant awareness through the years that my people, spread far and wide throughout every continent and ocean in the world, were united to support me in the task to which I have now been dedicated with such solemnity.”

The muffled voice of your speech was rendered audible to Griffith from the outskirts of the palace. He was perhaps….fascinated by your rather….pushy attitude on things. It didn’t take long before he palmed the area between his hips, hiding such an unsightly appearance as he began to fantasize about you under his control. He wanted nothing more than to dissect you in every detail possible, to know your deepest fears and motives of having to rule such a flawed kingdom. But little did you know, was that he wanted this kingdom all to himself.

“The ceremonies you have seen today are ancient, but some of their origins are hidden in the mists of the past. Their spirit and meaning still rise from the flames of finiteness. Perhaps, they still shine more brightly than we’ve expected them to do so. I have pledged allegiance with all my heart that I shall lead this kingdom, uplifting it further to claiming a thousand more victories than you would ever anticipate. Throughout all my life and with all my heart I shall strive to be worthy of your trust.”

Griffith’s eyes narrowed as he hid behind the doors alongside the two guards who were apparently slain before they could even fight back.

He wanted you.

And there was nothing more satisfying than breaking one of the strongest, most powerful women who once took an interest in the art of swordsmanship. But he would rather not challenge you to a duel; not because he underestimated your capabilities, but because he saw such barbaric acts to be unbefitting of a lady with high status.

An hour later, trumpets played as the Grim Reapers of the Battlefield were to be promoted as bodyguards, yes, bodyguards, of your kingdom. The King trusted you to this group of mercenaries who promised nothing short of protecting your integrity and wellbeing as the princess. But one thing’s for sure, it’s that their leader was bound to be missing.

You stepped down from the stage to observe your audience for any problems which may arise from the White Hawk’s absence.

“Wait, where’s Griffith? But he was just here about minutes ago!” Rickert exclaimed. “He can’t just be wandering out in the open like this! Griffith! Hang in there! We’re on our way!”

“Cut the crap.” Guts said, alerting his fellow comrades. “There must be a way to proceed with the ceremony without Griffith being of any concern.”

“But Guts-”

Recognizing and appreciating your bodyguards (or perhaps, some new friends) wasn’t all that bad. Perhaps you were intimidated by some of the mercenaries, but they played an integral part of your big day.

It was only one moment within that band that spooked you, it was the White Hawk revealing himself—it was Griffith. By that moment when Griffith claimed you to be his, you began to not take those words lightly and managed to develop a slight sense of fear. What did he exactly mean by that?

You brushed off your thoughts on the matter and shook hands with nearly all the members, with Griffith being an exception (obviously). Rumor has it that he’s still hiding where the sun doesn’t shine, covering his tracks in order to reveal himself before you in the very end.

And God forbid what kind of plans he had for you that night.

[entropyvoid]

Honestly with all the overlap between sci-fi and fantasy fans, I’m really surprised that “high fantasy in space” isn’t more of a thing.

There are some things generally assumed by most to be sci-fi that I’d personally label space fantasy, like Star Wars, where the high tech is just there as a backdrop to a classic heroic story of good guys vs. bad guys, who are definitely doing magic (by using the force). The point of Star Wars isn’t the tech or anything, it just happens to be a tale told in space. It contrasts pretty starkly with something like Star Trek, where the vast majority of episodes revolve around exploring whatever scientific or philosophical concept the writers thought would be kinda neat that week, using established characters as a vehicle for said exploration.

I think one of my favorite things about Honkai Star Rail is that it freely and unabashedly mixes sci-fi and fantasy. It just goes “You are a walking neutron bomb. Also turns out your bestie is from a self-reincarnating race of dragon people with powerful water and illusion magic. They live on this big, planet-sized ship that’s dedicated to hunting down this one cosmic horror that cursed all the ship’s inhabitants with immortality, under the banner of this other cosmic horror that exists solely to kill the first cosmic horror. Let’s go on vacation to the theme park planet, the actual resort is technically an Alice-in-Wonderland style dream triggered by the same kinda cosmic-horror-gifted bomb as you. Your new friend is a meme. By the way, did we tell you about the one time this super-genius harnessed the power of *imagination* to build a death ray that instantly obliterated a bunch of planets? That was kinda fucked up, huh.” Sometimes Star Rail tries to give explanations for its tech in a way that seems believably sciencey. Sometimes shit’s just straight up called magic or it’s from some deity or another and none of the characters present have a good understanding of why, so you all just go about your bullshit. It makes it work within the context of its established universe.

Cosmic horror in general is often (but not always) found in sci-fi, but where the point of sci-fi is to expand on and detail a concept in a believably scientific way or explore the impacts of a scientific thing, the point of cosmic horror is that there is a Thing that is beyond human understanding or comprehension. Sci-fi is a fun thing to insert it into, because the more scientifically sensible and well-understood elements of the world you have, the more jarring that becomes.

Then you’ve got things like Dungeon Meshi, which exists in an inverse of something like Star Rail: it takes a very Tolkien-inspired Dungeons and Dragons-esque setting, and then details it in a very scientifically sensible way. There is magic, and there are these fantastical monsters, yes, but the monsters are parts of their own delicate and intricate ecosystems, they are edible, and they have very particular nutritional values and ways you can cook them! The protag’s biggest strength lies in him being a nerd about monster biology. Magic, too, by the end of it, ends up with a plausible enough explanation as well. And the explanation is a cosmic horror! In this way, Dungeon Meshi, despite being built entirely off of very easily recognizable and classic fantasy tropes, is probably more accurately classed as sci-fi.

I just love all of it. Can I get like 50 more of these fucked up lil mixtures of science and magic please?

[antianakin]

@46imperialremnant Your ask isn't showing up in my inbox, but I got an email notification for it, so I'm answering it this way.

I didn't think I'd heard anything about it, but it was available at my library in ebook form, so I just read it and got to the bit you're referencing in this ask and realized I'd seen that particular panel already on someone's post about this comic I guess.

Spoilers for Tales from the Death Star ahead if you haven't read it and don't want to know anything about it.

Horror's not really my thing, neither are stories about Imperial characters, so it was kind-of an interesting concept overall, these weird ghost story things about the past Death Stars being told to one of those defected First Order Stormtroopers who's trying to get to the Death Star ruins for... reasons. I don't really get what that storyline is supposed to be about, I don't know what I was meant to get out of it, and I was honestly kind-of disappointed we didn't figure out who the fuck the cloaked figure was at the end and he just disappeared like another ghost. Again, I don't really do horror, so maybe there was an obvious clue about it that other people picked up on that I just didn't, or maybe the lack of answer was part of the point and other people will find that really compelling, but it just wasn't my cup of tea. I was waiting for a cool answer about that character and hoping it would help tie everything together and then it just didn't happen and I felt like I got left hanging and so the ending felt kind-of flat to me.

On the one hand, the creativity of seeing all the different variations of horror stories on the Death Star was a cool concept and I appreciated the different writers taking different approaches to it, but on the other hand, again, I do wish it felt like it had more flow and connection from one story to the next and the wildly different tones between some of the stories gave me a little whiplash. Some felt almost comedic in their horror (like the zombie one) while others went for horror that was just fantasy horror but in space (the Wild Hunt reimagined as a Wild Squadron) and others went for horror based on taking canon content and really honing in on the horrific elements already inherent in it that simply weren't focused on in the main storyline (the Tarkin backstory one).

Some of them I liked, others I didn't as much. I think my favorite was the Tarkin backstory, I personally just prefer stories that look at what's already THERE and expand on it in a way that really adds something to the story, and this felt like it did that by having Tarkin haunted by his own past sins and how that parallels all of the ghosts from the Death Star's relatively short history. My next favorite was the Wild Hunt one simply because I think that it was a fun concept to take a more inherently fantasy thing and put it into Star Wars which, while set in space, is very much more a fantasy story than a sci-fi story. The downside to it was that I simply did not care about the characters involved and was more invested in the world-building aspect of the "Wild Squadron." They mention its connection to the Jedi and it brings up all these questions about whether the "Wild Squadron" only started to become a thing post Order 66 and it's directly related to that, or if it's actually FAR older than that and has been around for thousands and thousands of years now. I wasn't as into the weird creature one or the zombie one. 2/4 isn't bad? 2/5 I guess if you count the Sequel timeline story.

It's always nice to see a reference to the loss of Alderaan, the loss of Bail and Breha. I also appreciated that the loss of the Rogue One crew and Saw Gerrera got their cameos, as well (with Saw's ghost actually getting TWO cameos!). It's interesting that it seems to be explicitly only counting DEATH STAR kills, so we see Cassian and Jyn, but not the rest of the Rogue One crew who were killed on Scarif by other means and were already dead by the time Tarkin showed up with the Death Star. Same with Galen Erso who was killed on Eadu (and actually technically killed by Rebel pilots), even though Krennic is there. It's such a clearly intentional choice, and I appreciated that.

I'm eagerly awaiting the new Reign of the Empire novel trilogy about Bail, Saw, and Mon Mothma, though! It's supposed to be for fans of Andor and I am actually really interested in that concept, so here's hoping it's good and we get some great stuff for Bail and his family within it even if he's just one protagonist out of three.

[tyrantisterror]

Fantastic Rants and Where to Find Them

So, back when the Herbie Porber movies were still being made, Warner Brothers saw the cash cow on their hands and decided they had to lock that shit down as much as possible to make sure they could milk it until its teats were chafed and withered to nothing. To that end, they bought the rights to every book the Terf Queen had written by that point - which included all the Henry Pansley wizard school mystery books, but also two gag books set within the Henry Pansley world: Fantastic Beasts and Where to Find Them, which was presented as an in-universe biology textbook for wizard children, and Quidditch Through the Ages, which was an in-universe book of trivia for a fake magical sport.

And at the time everyone with a brain who'd read those two books was shaking their head and thinking how dumb those corporate executives were to do that because, like, those aren't novels or novelas or short stories or narratives of any kind. They are, and I cannot stress this enough, a fake textbook and a fake trivia book about fake things written in a slapdash manner as a cheap gag. They existed for three reasons:

First, to sell something Herbie Porber related at a significantly lower price point than the actual novels so the Terf Queen could get more of that sweet, sweet Scholastic Book Fair money by having something poor kids could buy.

Second, to give a portion of the proceeds raised from that poor kid book fair money to charity so the Terf Queen could get some nice tax writeoffs.

And as a distant third, to expand the world-building of the Henry Pansley setting a teensie bit.

Now, as far as I'm aware, they succeeded at the first two well enough - tons of kids bought those cheap-ass thin as shit paperbacks when I was a kid, myself among them. Well, ok, I only bought Fantastic Beasts and skipped Quidditch because even during the height of my Herbie Porber fan days I thought the Terf Queen's imaginary sport was really fucking stupid and every time it popped up in the books I was bored as shit and tried to skim it as quickly as possible to get to the interesting stuff. I think I looked over the book once in a Barnes and Noble and thought, "Wow, I knew I thought real sports were boring as shit, but it turns out fake ones are even more so."

But back on track - goal number three was... kind of successful, I guess? Like, I don't know if you know this, but bestiaries of fictional animals are one of my big interests. I love a big book of made up creatures, and have collected many in my long life of thirty-four years. And as I said, I got a copy of Fantastic Beasts - technically several, because those cheap ass paperbacks disintegrated if you read them more than once, and I haven't met a bestiary that I haven't poured over several times, no matter how shitty. And despite how often I read it, Fantastic Beasts and Where to Find Them was, well... pretty mid, honestly. It's a book that's 99% world-building, and like all of the Terf Queen's world-building, it's overall mediocre and undercooked.

Like, in pure Herbie Porber style, it's mostly concepts that have been done in fantasy fiction and mythology dozens of times before with no real original spin on them whatsoever, often stripped down to their most recognizable elements alone. There are a smattering of original ideas that are actually interesting an novel, a few more original ideas that have potential but don't seem very well-thought out as is, and then some that are clearly just there to be a joke and are amusing for, like, a second, but also would quickly become annoying if they were given any focus.

I'll give a very me-specific example. As a fan of vaguely medieval european fantasy tropes, one of the metrics by which I judge a bestiary is "How does this handle dragons?" Because, like, I don't know if you know this, but I love dragons a lot, and the sheer variety of dragons in fiction is one of my favorite things in the world. There is a smorgasbord of different dragons a person can choose from just in folklore and mythology alone, and that variety is reflected in a given bestiary, the higher I think of it.

The Terf Queen's bestiary gives us ten dragon breeds... and they're all more or less the same except for scale color and minor variations in size. Oh, and their names, which are all based on different dog breeds because the Terf Queen thought that was funny. It's the worst of both worlds because it gets your dragon-loving hopes up that there'll be lots of unique dragons but no, they're just different colors, ho hum. Even the Chinese Dragon sticks to the same basic bitch wyvern body plan as the rest, when, you know, Chinese dragons have SUCH a different body plan than any of their European counterparts. It's downright insulting to the variety and creativity of this iconic folkloric archetype to reduce it to such a samey-set of monsters. Absolutely the most disappointing dragon entry in any bestiary I've ever read, just infuriating.

BUT, BACK ON THE INCREASINGLY DERAILED TRACK: Fantastic Beasts and Where to Find Them was never meant to be a "great" book. Remember goals one and two: it was a cheap cashgrab, a gimmick, a gag book. It was meant to be a disposable bit of fun - "Tee hee, here's a goofy textbook from this goofy wizard story that you kids will likely grow out of in a few years, you can read it in twenty minutes and not feel bad when you pitch it because there's very little substance to it, and it only costs three bucks."

The Terf Queen doesn't write textbooks, gag or otherwise, she writes novels, narratives, and in its original form Fantastic Beasts and Where to Find Them was clearly just her fucking around with something whimsical and stupid for shits and giggles (and money, sweet sweet money). The original version of it was published with notes in the margin written by Henry Pansley and Donnie Stoat themselves, the two wizard hooligans writing little jokes and messages to each other with further references to other characters from the series, both to add more humor and because, again, the Terf Queen writes novels, and it was clear she couldn't commit to the "fake textbook" bit without working in some characters riffing it for her own sanity. And that makes it work as a gag book - you get a few laughs from the wizard hooligans playing MST3K with their shitty textbook, learn a little about the (undercooked and poorly thought out) ecosystem of the wizardy world, and then when you reach the back cover the spine of your cheap as shit pulp paperback book falls apart and, unless you've got a weird obsession with bestiaries, you throw the dying book in the garbage without a second thought. Three bucks spent well enough.

BUT, TO GET BACK ON THE INCREASINGLY DERAILED TRACK AGAIN: Warner Brothers bought the rights to this cheapo cashgrab gag textbook, and goddamn it, they were/are determined to squeeze Herby Porber's sore teats until every last drop of money milk spills from his chapped and bleeding nipples. They announced they were going to make a Fantastic Beasts movie towards the end of making the Herby Porber novels into films, and everyone with a brain sat there and thought, "Well, that's going to be a stupid cashgrab. Bet the Terf Queen's laughing her ass off at how dumb it'll be, too."

But the Terf Queen was not laughing, at least not for long, for once the Henry Pansley movies wrapped up, she was left with the horrifying knowledge that people didn't care for her non-wizard books all that much, certainly not enough to keep her rolling in sweet, sweet money. She needed that mega millionaire cash, and she needed it in abundance and she needed it quick. So when Warner Brothers asked her to write a movie based on her cheapo cashgrab gag textbook, she said, "Yeah, I can make a novel out of that! I - I'm a talented writer! People love my writing! They definitely love my writing and they'd love to pay money for things I wrote that don't directly feature Henry Pansley!"

So now she had to pretend that Fantastic Beasts, the cheapo cashgrab gag textbook about made up animals in a made up world, has a narrative. Not just any narrative, but a grand, sprawling narrative, one to rival, nay, SURPASS Herbie Porbie and the Seven Books of Wizard-Themed Coming of Age Nonsense. Fantastic Beasts and Where to Find Them, she assured us, was to be a magnificant tale, and one she planned all along, and CERTAINLY not a marriage of convenience to a completely stupid idea for a film that she was desperately sculpting into a narrative it had no ability to support for the sake of trying to recapture her already passed glory days as a writer.

And I think, in retrospect, this is a great illustration of the Terf Queen's great character flaw. She just can't fucking admit to a mistake, even when it's obvious to everyone that one was made. She will hop on board a sinking ship and keep doubling down on trying to get it to sail even as the water is up to her neck. Fantastic Beasts and Where to Find Them is a serious narrative now, not a gag textbook written to wring a few more dollars from school children goddammit!

Recent editions of Fantastic Beasts and Where to Find Them took out the Herbie and Donnie commentary, by the by. They also added many of the new half-baked monsters that were introduced in the movies, in a shoddy attempt to pretend this was the plan all along, and that Fantastic Beasts and Where to Find Them was always meant to be the seed of something great.

But it wasn't, and no matter how hard the Terf Queen pretends otherwise, it's obvious it wasn't. It's a cheapo cashgrab gag textbook, and that's all it really had to be, until greed and ego demanded otherwise.

[ink-flavored]

Get to Know Your Moots Writeblr Interview

This looked fun, and I love answering lists of questions

Tagging: @foxys-fantasy-tales @noblebs @ceph-the-ghost-writer @auntdarth @damageinkorporated @srjacksin @wyked-ao3 @alesseia and anyone else who wants to do it!

Blank Questions for those who join me!

-

On the Tumblr Writing Community

How long have you had your writing Tumblr/Writeblr? A fast and loose estimate is fine!

I’ve been on Tumblr since 2014, but I didn’t make this writeblr sideblog until 2019.

What led you to create it?

Mainly because I crave organization, and I felt weird posting my fanfiction to a blog where I didn’t really talk about writing. Plus, I didn’t feel like anyone on my main would have been interested in hearing me talk about my original writing either, and even if they were, it would have been drowned in everything else I reblogged. I wanted to have a place that was 100% dedicated to writing to keep my blog topics more organized.

What’s your favorite thing about the Writeblr community?

I love talking about writing, for one, but I also love how many varied ideas you see in this community. There are SO MANY incredible WIPs waiting to be discovered here, of any genre you can think of, featuring ideas that make you salivate. The world-building some of you people have going on is fucking amazing, and I’m eating it.

What’s one thing you’d like your mutuals to know about you?

I love talking about stories, including yours! Come say hello if you feel at all inclined to!

Is there anything you’d like to see more of on your dash?

More people going crazy and/or stupid about their own stuff. Be your own biggest fan, and others will follow!

The kinds of writing I always enjoy seeing more of, in general, though: poetry (literally any kind of poetry), fantasy (high & urban), sci-fi (hard & soft), crime (bonus points if set during the Prohibition), romance, erotica (bonus points if kinky), detailed world-building (bonus points for fiddly politics, more bonus points if it’s inspired by other cultures than the generic European template), and any of these things in combination with each other!

What tips/advice do you have for someone who made a Writeblr today?

Reblog other people’s work if you want them to reblog yours, always send someone an ask if you reblog an ask game from them, don’t be afraid to self-reblog no matter how annoying you think it is, but most importantly, do whatever you want forever. Have fun.

Lots more under the cut!

WIP it Good

Which Works-in-Progress (WIPs) or writing projects are you noodling about, lately?

Mainly my [currently untitled] urban fantasy anthologies and Pride & Justice. My anthologies are getting outlined for my own make-shift “write as much as you can” challenge I’m doing in parallel to NaNo this year, and I’m basically always thinking about P&J at all times whether I like it or not.

How long have you been working on them?

My anthologies are only officially around… a year or two old, probably? I had the initial impetus to start them ages ago (like, closer to 4 or 5 years ago), but didn’t start working on them as an actual project until relatively recently. Hell, I didn’t have the idea for an erotic urban fantasy anthology until December 2023!!

As for Pride & Justice, it will celebrate its second birthday on August 9th! It’s the only WIP I have such a specific date for, since it originally started as a fanfic I did for AUgust2022.

Do you remember what inspired them/what got you started?

For my anthologies, I’ve always loved urban fantasy, but pretty much all the urban fantasy I could find growing up was lacking in some way (to me). Either the fantasy elements were pasted onto our already existing world—usually “in secret” or with some other excuse to keep the “regular people” from finding out—or it was a genuine fantasy world with more advanced technology, but always a detective story. Seriously, what’s with urban fantasy and detective thrillers? They’re cool, but there’s so many of them…

I craved something closer to a “slice of life” urban fantasy—what would a fantasy world with our current level of technology and manufacturing actually look like? How would people live, what would a city be like, how would things like magic change what a sufficiently advanced culture looks like? And then, of course, the crazy magical sex????? That’s the logic I’m working from with both my anthologies, a sort of “what-if” combined with a slice-of-life peek into urban fantasy lives.

For P&J it’s a lot simpler: the fanfiction I wrote simply didn’t want to be a fanfiction. It wanted to be something bigger, more original, with more room to breathe. I gave it permission to be itself.

How much time, in your best estimation, do you spend thinking about them?

All of the time. Forever. If I am thinking about something, it’s probably my WIPs.

When someone asks the dreaded, “What do you write about,” question, what do you usually say?

I reflexively answer “fantasy, and I dabble in sci-fi and contemporary fiction.” Sometimes I clarify I write both high and urban fantasy, because most people assume high fantasy. I usually also mention I write poetry, and sometimes I’ll mention my Magnet Monday schtick.

What do you want to say (if it’s different from what you do say)?

Well, if people could get really cool about me saying “fantasy romance and erotica” that would be neat. I think we’re still a little ways off from other people’s reactions not being 1) smiling stiffly but politely before changing the subject or 2) making a rude face before changing the subject.

Let’s Rotate Blorbos

Name any characters you created.  Side characters, protagonists, antagonists, characters who’ve never been written, the first original abomination you ever pulled from your ass; whomever you’d like!

List them all? We’d be here a while.

I have an OC Roulette that I spin when I need to pick a character at random for whatever reason, so I’ll just list the ones currently on it:  Pride, Justice, Kindness, Ollie, Sofia, Dante, Honesty, Lust, Xinya, Yu-Qi, Jao, Han Lao, Sita Zhai, Asim, Mira, Cahaya, Priscilla, Henry, Yvonne, Harlan, Hayden, Lenora, Teconia, Seraph, Park, Jamie, Kiran. And the OC Roulette list will surely expand as I come up with more blorbos.

Who’s the most unhinged?

It depends on how you define unhinged, I guess? Yu-Qi could be considered unhinged because she’s a God-Dragon who does not care much what you think of her and does literally whatever she wants, whenever she wants. Priscilla enjoys violence to a suspicious degree, to the point where her husband just sighs and shrugs about it. Honesty is an Evangelical Christian angel with the one and only mission to carry out God’s Word. Take your pick, really.

Who comes the most naturally for you to write?

Can I just blanket say “the protagonists”? Generally, I use the POV characters for a reason, and it’s because I find them the most comfortable to write. I very rarely write multi-POV stories, and when I do switch POVs, it’s usually for one very significant part that the regular POV character isn’t present for or something. So—Pride, Xinya, Asim, Priscilla, etc.

Do you ever cringe at them?

Honestly, not really. Sometimes I get nervous about people accusing me of self-inserting or whatever, but then I remember that those people are stupid and lame. Of course my characters are going to be at least a little like me—I created them. Some will be more similar than others, but I put a little bit of myself into everything I write, including the characters. And even if they were self-inserts, who cares? I can do whatever I want, and don’t need to cater to pissants.

How much control do you feel you have over your characters?  AKA, do they ever “write themselves,” refuse to cooperate, or do things you didn’t expect? To what degree? Are some less cooperative than others?

They fly off the handle sometimes. The most persistent example is from The God-Dragon’s Wife, which was supposed to be about a monogamous couple, but a prominent side character started hassling me to make it a polycule so she could join in. I am now rethinking the entire plot to see if I can make it work.

In general, though, I feel like my characters exist somewhere in between “totally under my control” and “completely unrestrained.” I can drop a character into a scenario and act them through it, and there are absolutely times where I go “nah that’s out of character,” and have to change something. But for the most part, it’s like… observation. If I have a good handle on a character’s personality, arc, and motivations, I can just watch. Wow, look at ‘em go…

Do you enjoy people asking questions about your characters? And do you have a preferred means of receiving said questions? For example, as Asks, as replies, as reblogs, as tag notes, as comments on AO3, etc.

YEAH!!!!! ALWAYS AND FOREVER!!!!!!

Honestly, no preferred medium for questions. Send me an ask, reply in a post, DM me, message me on Discord (if you have it), leave a comment on my website, whatever. I love talking about my characters, and if you also want to talk to me about my characters, well that means I love you too.

On Writeblr Engagement

What makes you want to follow another Writeblr account? Do you follow ‘em as you see ‘em, or take time scoping out the blog to make sure you align with its content? Do you follow based on WIPs, or vibes?

Usually I scope out a blog and see if their WIPs are interesting enough for me to want to see regularly on my dash. Sometimes I’ll see a post from someone looking for other blogs that post [x] genre or [y] content, and if they match up with what I do, I’ll skim their intros (if they have them). I don’t like horror, so I’m not gonna follow people who only post horror stuff. I really like fantasy, so I’m more inclined to follow people who post fantasy stuff. If I see a particularly interesting WIP, I’ll follow the person even if it’s not the kind of thing I normally read. It all depends!

What makes you decide against following?

Genres I don’t like to read and my personal squicks, usually. Maybe the WIPs didn’t grab me. Some writeblr blogs are also people’s main blogs where they post a lot of other non-writing things, and I usually don’t follow those since I’m here for the writing first and foremost.

Do you interact with non-mutuals often?

Sometimes! Usually it’s my mutuals who talk to me the most, so I interact with them the most. As a general rule though, if you talk to me, I’m gonna talk to you back, no matter what our following status is.

Do your mutuals’ characters occupy space in your noodle?

If I know enough about them, yeah! I have plenty of other people’s OCs floating around in my brain from time to time, especially if they’re a regular occurrence on my dash.

[nczaversnick]

Writblr Interview

Thanks for the tag @willtheweaver

Short stories, novels or poems?

I’m definitely a novel guy, both for reading and writing.

What genre do you prefer reading?

Definitely fantasy and mythology. But I often cross into sci fi and dystopians

What genre do you prefer writing?

I am honestly not sure how to answer this, given that I’ve done almost nothing but work on one project for over a decade

Are you a planner or a write as I go kind of person?

I start out with an outline but when I get down to the scenes I like to wait and see what happens then adjust my plans accordingly

What music do you listen to while writing?

I have playlists for some characters but on the whole I pretty much just have one playlist with all of my music on it that I hit shuffle on every time.

Favorite books/movies?

Oh cmon we’ll be here all day. I grew up on pretty much everything made by Jim Henson or Mel Brooks and I listen to audiobooks 40 hours a week at my factory job. I burn through a lot of material XD8 to summarize my favorite movie is The Princess Bride, and my favorite book is The False Prince by Jennifer A. Nielsen

Any current WIPs?

For the most part just Project Gemini.

Fandomverse is an rp chain, and I mostly do art for this not so much writing snippets

Elemental High is an idea I’ve been toying with. it’s basically Project Gemini, if it were a Disney Channel series. I think it’d be super interesting to see how I as a writer could tell the same story through a completely different lense/ how would the story change if I changed its intended audience?

If someone were to make a cartoon out of you what would your standard outfit be?

Lucky for all of you, I did make a cartoon me. The color would change based on what color my hair is

Create a character description of yourself:

If I thought anybody in an orthodontics factory was about to be isekaied or find a weird portal into another dimension it was this guy. He was at least 20 years younger than everyone else in the building and, in a lot of cases, twice that. But despite being super easy to spot in a crowd, he never really says much without prompting. Still, as loud as he is in a visual sense, he never seems entirely here. Like the voices in his head are more interesting than anything going on around him. Dude fucking lights up if you mention pizza though.

Do you like incorporating actual people you know into your writing?

Not consciously no. People will say Quinn is based off my enby stoner best friend but from my point of view, I don’t know many enby stoners who aren’t like Quinn. But as a whole I like to let the characters tell me who they are. Any resemblance to someone real or imagined is purely coincidental.

Are you kill happy with your characters?

Rachelle, my partner for Project Gemini, would say yes. I have elected not to comment

Coffee or Tea while writing?

Hate to be the odd one out here but an ice cold Dr. Pepper is what I go for

Slow or fast writer?

If I can get a glove going I can write badly pretty fast. But overall, I’m 13 years into the only real project I’ve ever had and I’m still not done with book 1

Where/who/what do you draw inspiration from?

It helps for me to keep consuming new stories but honestly, the best inspiration comes from the interactions about my work from all of you out there. Unmatched. (Shoutout to @honeybewrites @the-golden-comet and @the-letterbox-archives for giving me so much)

If you were in a fantasy world, what would you be?

Probably a librarian of some kind, just like I’m trying to do in real life. But I’m way to exhausted and disabled for that adventuring crap XD8

Most fav book cliche:

Oh I don’t know how to describe it. When the protagonist is a young boy without a father and they find a father figure/mentor/bodyguard. I eat that shit up and I don’t see it very often. [examples would be Sage and Mott from the Ascendance Trilogy/series by Jennifer A Nielsen and Matt and Tam Lin in The House of the Scorpion by Nancy Farmer

Least favorite cliche:

I really hate it when a main character (regardless of gender) is passive. It’s just so not fun to read about someone who never takes action in their situations.

Fav scene to write?

Almost any of Cas and Adrian’s interactions. I adore their dynamics

Reason for writing?

Because I’ve got shit inside my head and it’s not doing any good in there so I might as well get it out here.

Tagging: @honeybewrites @wyked-ao3 @kittrrrr @zackprincebooks @theverumproject @the-golden-comet @fractured-shield @poppycat-writes @illarian-rambling @finickyfelix @kuebiko-writing @yourpenpaldee @the-letterbox-archives @moltenwrites @davycoquette @drchenquill @leahnardo-da-veggie +open tag

[ariellewm]

WIP Fantasy Novel - Character Profile: Czar Agskaga

!! Note: Please do not use my character or the art of the character for roleplaying (with the exception for Ycey Narrates) or fanfiction. This OC is very precious to me and only will allow others I know close to either roleplay, write, or draw him. !!

"If you find trouble sssleeping, you know where to find me." - Czar Agskaga from "Coils of the Naga" Part 1

Full Name: Prince Czar Agskaga

Aliases/Other Titles: His Illustrious Eminence, Master Maji of Fire, Keeper of the Sacred Amber Lilies, Prince of Rubies

Gender: Male

Race: Naga

Age: 41 (26 in sapien years appearance (human))

Height: 6’2 (187cm) Stranding / 22’ (670cm) Long

Eye Color: Crimson Red

Hair Color: Onyx, long length

Skin: Tanned with dark red/black/gold scales under eyes, upper neck/shoulder area. Arms fade into black

Tail: Black with golden and red "saddle" patterns that fades ruby red on the belly

About/Backstory

Czar is the first-born child of King Voskai and Queen Kaatrisa Agskaga. He was named after a powerful dragon, Szarrak, that lived alongside the Agskaga’s many centuries ago. His nesti (family) are a highly respected royal line of Naga’s/Nagi’s that dates to Draca Isla Pyramis, an ancient place where they and Dragon’s thrived before its doom. They are known for their amber lilies, a precious flower that holds healing properties and other usages.

The young prince usually finds himself relaxing among the trees (what little was on the isle he calls home), hidden away with a book in hand. When not reading or learning about legends and histories of old, he likes being at gatherings in the company of others (especially with the sapien women). He delights in showcasing his fire majic (magic) abilites as well as helping those stressed or lacking sleep through his hypnosis abilites.

With the unfortunate death of both parent’s during his teen years, he is the last of his reign to bare his father’s name and to the throne. In the meantime his uncle on his father's side has taken over responsibilities until his nephew is ready (which he isn't quite ready to take over the throne just yet).

Personality

Many have mistaken his kind as evilly sadistic. Not all are that way…at least from Czar’s point of view. Czar can be seen as an intimidating, mysterious royal at first glance. He shows his true self in his knowledge and interest about the world. Czar enjoys discussing legends of old and Zarth’s history with company.

The royal can be quite talkative at gala’s and other large speical occasions. There are times, however, he’d rather be alone in his study. Raised with good manners and always seems to be well-adjusted for a Naga, he still dabbles in his mischievous teasing ways.

Of all the Naga’s/Nagi’s that possess the ability of hypnosis, Szar despises those that use it for merciless, heartless purposes. He would rather use his ability to help those in need. Czar asks for consent for this reason, to make sure they feel safe with the charming prince that he is. Sometimes through his flirtation and teasing ways, it had always worked on the ladies he fancies…at times.

Abilities/Majic Status

Hypnosis – A unique ability that causes those to be in a state of consciousness and have them voluntarily lose action. Not many have this ability. Czar is the first in many centuries of his nesti to possess such ability, though he rarely ever uses it. (His eyes glow, like looking into a roaring fire).

Fire Maji – He can conjure, manipulate, and inflict damage through the element of fire and heat. Czar’s favorite ability is breathing out fire like those of dragons and conjuring a fire like whip. The crystal embedded within his left palm is oval red. *More information TBA*

Constriction – Like those of serpents large and small, his long body can wrap around enemies and tightly squeeze the life out of them. He also can climb up trees or buildings if nessesary.

Heightened Senses – As a Naga he has an excellent scent and eyesight compared to other races of Zarth.  

Wardrobe Appearance

The Naga likes to show off his prized gold and rubies he has collected over the years. At times he wears his medium golden collar with rubies mixed with teal crystals. Along his arms he wears golden arm and wrist bands. He tends to wear two rings, both of which belonged to his parents. One is crimson red with gold and the other is teal with gold. He wears them on his right hand: one on his index and the other on his ring finger. On the other hand, he wears a golden serpent ring on his ring finger.

Upon his head he is sometimes seen wearing a gold circlet crown the small design of Agskaga’s amber lily symbol at the center.

He likes his selection of clothing soft and light. A lot of his fabrics are made of the finest silk and cotton on Zarth. Czar prefers to wear reds, blacks, yellows, oranges, whites and even just a little hint of teal in his fabrics. The prince often wears open shirts, long sleeve or short, attached with silky long or medium length drapes behind the back or to the side with beautiful intricate patterns (mostly floral, serpent, etc.). Along his hips he tends to wear a golden belt (large enough to cover his lower region) with chains and jewels.

When not seen around the public or with other nobility, Czar likes to be shirtless. Czar still wears his usual jewelry such as his arms bands, rings and the belt.

His long onyx hair is sometimes tied up as a loose ponytail with the front tied in a topknot. Some strains of his long hair still show on the side of his face when tied up. A lot of the times, however, his hair is usually down. Sometimes he will allow females (those that he fancies) to braid one strain of his hair. Many have complimented on how silky his hair is, given that he uses the best shampoos. Many ladies have described the smell of rose and lavender.

Weapons

The Naga often not carries weaponry around with him. Since he is a Fire Maji and uses majic, he doesn’t necessarily have any use for actual weapons. He has been trained though with using whips, swords, and daggers at his nesti’s palace. So if need be, he can easily pick up a sword while still performing fire majic on his enemies to protect the people he cares about.

Audio Roleplay/Stories

"Coils Of The Naga" Produced and Voiced by Ycey Narrates

"Coils of the Naga Part 2" Produced and Voiced by Ycey Narrates

"Coiled By The Naga" Produced and Voiced by Ycey Narrates (Bonus Audio through Patreon)

Modern Headcanon: Mr. Czar Agskaga

SFW Naga Hypnosis Headcanon

Czar's Holiday Story

SFW OC's Valentine's Day Headcanons Special

Summertime with the OC's

Coils of the Naga Part 2: Palace Courtyard Scene

Before Part 3 of "Coils of the Naga" Story

Physical Appearance Concept Art/Gallery

Credit art goes to @wyyvernn

More artwork of Czar HERE!

Inspired Spotify Playlist: Czar Agskaga Playlist

Inspired YouTube Playlist: Prince Czar Agskaga's Playlist

[mdhwrites]

You said before that Boiling Isles is basically our world but with more teeth, it's flat and flawed, also because there's tech in there despite already having magic that could do the same job. So I was wondering.

What would've made the world building more interesting? Or what Bl should've got rid of to not make it a copy pasted version of our world?

The short answer to this is that I don't really know. I will talk a LOT about why TOH feels like such a bare bones fantasy world but the issue is also part of its identity. There's a reason why I've also said that the writers feel like people who don't like fantasy who were forced to write a fantasy show. There's just no respect for the fantasy. And if that's where you're STARTING from for your fantasy world, there's already something wrong unless you're writing a full blown parody. And TOH is all too happy to borrow the easy outs that fantasy can give, especially to spectacle, to make that claim. It's just that if you don't have one side of the coin, your spectacle is going to struggle to feel meaningful. But let's first talk about the complaint. "Our world but with teeth." This is the fantasy equivalent to the horror genre complaint of "This is an action X but with zombies." Both effectively mean the same thing: It is wearing the skin of the genre but not understanding the draw of the genre. The core feelings and emotions and the like of the genre. After all, a scary design does not make horror. Dread, suspense, scarcity, disempowerment, etc. like that make horror. So that begs the question of what makes fantasy fantasy? Well... That's really hard because fantasy is INCREDIBLY complex. Yes, there's the version of wizards and goblins and orcs and elves and etc. but that isn't by any means the only version of a fantasy world. Magic can be limited to very few characters and it can still feel fantastical. You could in fact have ZERO fantasy elements and still evoke the fantastical and the other worldly through your story. That this is a new place with new rules. As an example, my favorite book series, Ranger's Apprentice, has very sparse actual fantasy elements outside of the first two books. And yet, I don't think it loses the fantasy title because of the titular rangers. How people react to them. Their reputation. Their limits and strengths that make them have the reputation of "One Ranger, One Problem." They're that effective at solving things and the joy in finding ways for Rangers to solve new problems is WONDERFUL. And a large component of that is that the myth of the Ranger, how the world sees the Rangers, is taken very seriously. Compare this to The Owl House. Outside of Belos, literally zero threat, if much of anything, is taken wholly seriously. Most of them, frankly, aren't magical. They may have a magical gimmick but they're a story that doesn't require magic. As an example, Tibbles' first appearance. Just swap it to the medication for Eda's disability isn't widely available right now, she has to go to the night market for it, she gets card sharked to give up King and then gets a gun put in her face. The only thing the fantasy elements adds is that you believe no one will object to Tibbles now owning a person.

And that's where the more teeth part comes into play. People are so much like our real world counterparts that it doesn't feel like a reasonably different culture. Just think about how Willow is introduced. Her strength in plant magic isn't what decided her path. Her path was decided because 'abominations have more career options'. It's a cute joke but like... Plant magic is TERRIFYING in most settings. TOH effectively boils it down to vines outside of one memory poison but think about all that plant magic can encompass. The sudden growth of potion materials. Pheromones and pollens by plants you make suddenly spring up. The hundreds of different poisons you can craft out of plants, OR THE ONES THEY MAKE THEMSELVES. But just from that one line, we're told that magic is incredibly de-emphasized in this setting. That it's so mundane that you learn what will get you a job instead of what you are capable of doing. Does the show do anything with that though? No. A LOT of S1 Boiling Isles actually has this feeling. This feeling of people being very mercenary and out for gain more than they are the wonder of their own world. It's shockingly similar to ours honestly and at first explains why instead of exploring the world, 90% of what Luz faces is some form of huckster or scam artist who's magic doesn't matter. I mean, just look at the twins. They have illusion magic which should allow them such a wide variety of options to mess with people and their grand plan for their sister? Steal her diary and share it with people. Yeah, that's... That's totally not something that could have just happened in a normal, school setting. Molly Mcgee has more fun with what you can do in those sorts of ways than TOH and its one fantasy hook is ghosts. Molly Mcgee is REALLY good though. I highly recommend it and I personally need to watch more. But let's back up to something you might criticize me on. While in Hooty's Moving Hassle, Eda's plot can easily be converted away from a magical setting, what about Luz's plot? Moving house, monster hunters, etc. like that?

Well, that's when we get into the other side of it: It's very functional. The Resident Evil games as they become more action oriented changed their zombies into versions that were much cooler to kill and fit into action rhythms. The horror elements no longer were something to care about but now bent to the will of the action verbs.

TOH does this with fantasy. The majority of Luz and co's plot line in Hooty's Moving Hassle isn't interested in the monster hunters or Hooty himself, enchanted by the magic. Those are to give action to Willow's anger towards Amity and to give Willow something to show how powerful she is against. None of this will be remembered. None of this will be called back to. None of this even portrayed in very interesting ways as the fight is effectively skipped at the end and yeah, they move Hooty but it's just for teenage hi-jinks. It's not bad but it's not special.

This extends to much more important episodes though. Teenage Abomination features Principle Bump putting the school into lock down with intricate runes and a complex system of magic. We never see anything like that again. The Power Glyph in Covention spits directly in the face of Luz's magic being special but it allows Amity to have a fighting chance against magic traps (another concept never brought back) that Eda places and for the emotional moment of her having been tricked into cheating.

Now this isn't to say that your fantasy/magic shouldn't bend to your narrative. There's a breaking point though. If the magic ONLY bends, instead of standing tall, it feels like a tool. It's actually part of what's important about early Hogwarts stuff in Harry Potter. Do the portraits need to be alive all the time? No. Do the staircases constantly have to be moving, especially when they aren't actually saving physical space? No.

But do you know what those things do add? They add the feeling that when a secret passage is shown to exist, you immediately believe it. This place is DRENCHED in unnecessary magic. So much of it defies logic because why the fuck not? This is magic. Let's have fun! So when you're told there's fifteen evil basements and roughly 27 BILLION secret passages, you just… agree. That is the world they've set up.

And I do want to mention that this isn't just in flowery ways. Dark Fantasy effectively asks the question of "How fucked up can we make magic?" What can you do with bones and blood that will just make a person's skin crawl? How much pain can we inflict on the mind because of pressure that couldn't be possible in any other way? What price is paid for magic?

TOH cares so little about its magic thought that it can't even keep something as basic as the spell circle consistent. Darius' abomination form has NO SPELL CIRCLE. Not even an attempt despite how strong that spell feels. He just focuses and casts. Why? I don't know. Probably because it's cool and it's less of a Danny Phantom ripoff than what you'd get with a transformation done with a circle. Most bard magic doesn't have spell circles for OBVIOUS REASONS.

And this doesn't need to be hard coded into its magic. Little Miss Rich Witch, my own series, is very loose with its magic. Instead it's through the society that I create the feeling of something different. The main characters are nobles, something we don't have as much of, and that fact permeates through their social interactions and the feeling of them not being just people from our world in costumes.

But with TOH... how many care about Luz being human? That she doesn't have magic or that the glyphs are special? She is a complete anomaly to this world and NO ONE CARES. It gets a little lip service by Amity and Eda but Boscha just calls it weird that a human is going to her school. She cares more about Luz being friends with Willow than anything to do with her being human or magicless. The glyphs themselves are purely mechanical even with little weight to most of them and little impact for those that do have weight behind their discoveries.

Or hell, how about the demons of the DEMON REALM? They act like anyone else and their biggest distinction is that if you're a demon, you're a villain or a background character. You're not pretty enough to be a part of the actual cast (despite Boscha being a bombshell but I mean... All she has is a third eye). The majority of character just look like elves but with only their magic instead of any sort of culture, ideals, etc. like that. When even your only two races in your fantasy realm are that basic... What's the point? Why not just them all humans with magic if that's effectively what they are? If they have no personality beyond that? And I know that's hypocritical of me since I wrote a 300k word behemoth that was exploring Luz, Amity and Boscha, two main characters and someone I elevated into have very real depth, inbetween S1 and 2 but that's also the thing: On accident, S1 appears to have a personality. Lots of questions about its magic that you may want answers to. Oddities to its world like teachers getting excited about kids fighting that stick out in the brain a little. And the setting is also just malleable enough that I could headcanon a LOT of different elements, like glyphs being linked to emotions and that causing problems with a witch's bile sacs so as to make them dangerous to witches but that's also why Luz is so powerful with them. S2 takes away SO MUCH OF THIS. The increased attention but also death of taking the EC seriously is a large part of this. Suddenly, we're being told that things like Child Endangerment laws have been in place since Eda was a child. Why is it like this now? The Savage Times were actually a utopia so now any negative element of the BI feels forced and incongruent for the simple message of "Belos bad" even while Gus doubles down on "ONLY ILLUSIONS FOR LIFE MOTHERFUCKERS!" So what could have been done? Caring. At all. But the writers hardly care about their characters and treat many of them like plot devices. Why in the world should we expect them to treat the setting with more care than that? Especially when King, arguably the most important character in the series, spends half of it as comic relief? And all of this doesn't even get into the subversive elements. I barely touched on how none of the threats arrayed against people are taken seriously for more than a minute besides Belos. But those elements themselves really push the idea that all is ephemeral. That you shouldn't care about any of it. That the moment you look away, it all vanishes. And one of Fantasy's greatest strengths, or the strength of any story, is to teleport you to new worlds that you can believe in. That feel real, despite the fact that you know they're not. And eventually, I found everything to be made of nothing more sturdy than cardboard with some glitter on it. ========

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead, If you want to hang out with me, I stream from time to time and love to chat with chat.

And finally a Twitter you can follow too!

[bidotorg]

As a long-time fan of the Dragon Age video game series, I previously reviewed the first three entries — Origins (2009), Dragon Age II (2011), and Inquisition (2014) — for the Unicorn Scale at Bi.org. The series has consistently delivered rich storytelling, complex characters, and immersive worlds, making it one of my all-time favorites. Naturally, I eagerly anticipated the release of the latest installment, Dragon Age: The Veilguard (2024), which was in development for nearly a decade.

One notable aspect of the Dragon Age series is that each game offers a distinct experience while maintaining a cohesive narrative thread. Origins introduced players to the fantasy world of Thedas with a traditional role-playing game (RPG) structure, Dragon Age II provided a more focused, character-driven story, and Inquisition expanded into a semi-open world with vast areas to explore. Veilguard returns to a more structured design reminiscent of Origins, which has sparked debate among fans; some appreciated Inquisition’s open-world approach, while others preferred the more contained environments of the earlier titles. Personally, I enjoy both, and was curious to see how Veilguard would balance the two.

Origins has always stood out to me as the best in terms of storytelling (though the entire series has excellent stories). Many critics have recognized Origins on “best of” RPG lists, with some even calling it the best RPG ever made. Part of what made it so compelling was the character development and the organic, high-stakes choices that led to multiple possible endings, each dramatic and satisfying in its own way. The two sequels continued this tradition, but Origins still holds a special place for the way it balanced epic storytelling with meaningful choices.

For the gameplay itself, I’d give the edge to Dragon Age II, which leaned more into action elements, offering a dynamic mix of action and RPG mechanics. Inquisition, on the other hand, excelled in world-building, thanks in part to its open-world sandbox design that made Thedas feel vast, lived-in, and interconnected — an entire universe to explore, rather than a series of isolated levels.

That said, they are all outstanding games. And, crucial to this review, each one set the bar for bi representation in gaming, consistently showcasing some of the best bi characters the industry has to offer. With these similarities and differences in mind, let’s dig into Dragon Age: The Veilguard, which brings its own approach to these core elements while building on the series’ foundation of inclusive representation.

While I was initially hoping for another sandbox experience like Inquisition, I ended up appreciating Veilguard’s return to a more classic approach. The designers took a clever route, creating expansive levels that open up as you progress, which combines the best of both worlds: a structured progression system that still manages to feel immersive and grand in scale.

Combat, too, is a major highlight. In fact, I’d say Veilguard surpasses Dragon Age II as the best combat in the series. By evolving the blended action-RPG mechanics from DA II and incorporating new features and advancements, the result is challenging — especially on higher difficulty settings — and delivers a high-energy thrill, whether you’re playing as a mage, rogue, or warrior.

As for storytelling, while Veilguard doesn’t necessarily surpass Origins (which I still consider the pinnacle of the series in that regard), it’s certainly up there. Like Origins, Veilguard gives each character a rich arc with meaningful development, where player choices shape fulfilling and varied outcomes for each character. Without spoiling anything, let’s just say that the range of possible fates runs from the tragic to the beautifully poignant. This narrative depth, combined with the choices players can make, gives the game exceptionally high replay value. And, like Origins, players can choose from a variety of characters, each with their own distinct backstory, which affects dialogue and narrative options throughout the game. This time, however, players don’t get to play out these backstories interactively. Instead, they provide rich context woven through the story as the action unfolds.

On balance, Veilguard feels like a thoughtful mix of what made each of the previous volumes unique. The designers seem to have carefully weighed the strengths and weaknesses of each installment, creating a balance that feels both fresh and true to the series’ roots.

The Dragon Age series has always excelled in art direction and soundtrack, with each game bringing the rich mythology of Thedas to life through detailed visuals and immersive music and soundscapes. Veilguard takes this legacy to new heights. While the art direction is on par with the previous games, it benefits immensely from the enhanced capabilities of modern technology, allowing for stunningly detailed textures and vibrant landscapes that make the world feel even more alive. The soundtrack, composed by the legendary Hans Zimmer — known for iconic scores like Gladiator (2000), The Dark Knight (2008), and Inception (2010) — is the most epic and compelling in the series to date. Zimmer’s orchestration beautifully fuses neoclassical stylings with modern genres like heavy metal and dubstep, creating a postmodern masterpiece that matches the grandeur of Veilguard’s storytelling. This score enhances every moment, making the experience all the more unforgettable.

Read the full review here:

[joculine]

DIE Issue #3 Reread (Gillen & Hans)

Issue #3 opens with a bang. Boom: Dieselpunk dragon.

The Front

I'll talk a little bit about the Front here before we get into the art. The world of Die (the game, not the comic) is split up into 20 distinct parts (like the faces of a a d20.) Each section is it's own distinct little microcosm, with its own quests, factions, characters, and flavor. These faces aren't fully disconnected though—several of these little lands are in conflict with each other. The Front is one of them.

This place is a mix of a WWI trench battlefield, a steampunk fantasy, and some Lord of the Rings for good measure. I don't think an actual world map will show up in the comic (to my memory,) but I believe it is an intersection of Eternal Prussia (home of the Clockwork Fascists) and Little England (The Scouring of the Shire, sans victory over Saruman.) Since each face of Die is a triangle, there's probably a third power in here, I would assume Angria. It doesn't come up here though.

I really like this concept. In fact, I stole it as a setting in my first real TTRPG. My players never really went there, so I ended up bring my own dieselpunk enemies to the city they were staying in. The idea was too cool not to use. I mean, evil, magical, mechs? Hobbits with infantry rifles? What's not to love.

The Art

I already shared the dragon splash piece and the battlefield from this issue, which are the main talking points. I also want to point out the way the watercolor style images continue to show off Hans's incredible eye for lighting. Check out how the outline of the dragon looms over Chuck in the smoke after a shelling:

This technique of shadows building suspense around a subject gets replicated a little later on, when an unexpected guest arrives in the trench.

And then is inverted with the eagle, shining bright like a sun among the smog:

There's some great costuming choices for Ash in this issue. Part of the plot here is that she is not recognizable as a Dictator, as a large overcoat has covered most of her dress and chest scar. I think she looks neat. Just look at those sandals!

We also see that red magic of violence show up a few times too. From the dragon itself, when Matt attacks the dragon, and at the end, when the hobbit's letter is burned.

Interesting that the eagle, who appears to be summoned by... Tolkien... does not appear as red, even though we can assume it is magical. Instead, it is golden, something that signifies are more noble intention. I'll keep an eye out for that gold color going forward too.

Hold on a second, Tolkien? Like actual JRR Tolkien is a character here?

Kind of. This is one of my favorite world building elements of DIE and we'll get more in further issues. For now, it seems as though the spirit of a very influential author to Die and TTRPGs in general is present in the game. Present and trapped even. Not unlike the situation the party finds itself in.

It's not just Tolkien himself either. Ash stumbles into a trench and runs right into Elijah Wood Frodo.

DIE isn't afraid to share what it's referencing—in fact it's so unafraid that it's tied it up in the plot and themes directly. Ash goes on a bit of an internal journey while experiencing this homage. There's never a point where she seems totally disillusioned with it, but she seems to struggle to take the whole thing seriously... or at least she says she does.

I mean, it is a bit ridiculous for her, right? She's stepped back into this fantasy realm, made by her teenage GM, and now has to deal with Frodo and the hobbits dying after a failed attempt at going over the top of the trenches. It's so overblown and on the nose, it's almost funny.

But that horror is still there. And it becomes more real to her when the face of the most influential fantasy author suddenly appears before her.

The dramatics are dramatic, the artifice is laid bare, and yet the emotion is still real.

I think it's telling, Tolkien's words about The Front and the world of Die: "[A]n orcish mockery of my elvish tale. This is not what I wanted." We can read this literally, as the character's displeasure with what Sol has made. We can also read this as a reaction to the comic itself: it's not on the same level as LOTR, but a crueler remixing of elements from those books. I think we can also look at this as Tolkien's denial of his own work as being a metaphor for WWI.

This is a really interesting statement, not only because it can be seen in so many different ways as illustrated above, but because it contradicts itself. Why is Die Tolkien, who is the master of this realm, critiquing the Front? Why did Gillen choose to put his own version of Tolkien criticizing his comic in the comic itself? Why was Tolkien in life so reluctant to compare his work to his own experiences? It's a little paradoxical, and offers messy conclusions—a great metaphor for a character trapped in an endless war.

I also see how this little story relates to tabletop games as a whole. The medium asks you to take silly things seriously and to suspend your disbelief enough to make pretend with your friends. Yet, the emotions you can experience in a session of roleplay can be very strong, positively and negatively. Tabletop has certainly had a powerful impact on my own life, even when I know it's all fake.

We'll have to hold onto these ideas of an author trapped in their work and the influence they have over a thing even after they're gone. Tolkien will not be the only one who shows up in this comic.

Ash the Dictator

We've seen Ash's Dictator power in previous issues, but this is where we really get a sense of her class's role. It's all shown in a masterful sequence where she needs to manipulate Matt's feelings to fill him with sorrow. As a Grief Knight, Matt can turn sadness to violence, which is what's needed to kill the dragon.

He asks her to use her voice, the Dictator power that allows her to implant emotions directly. She does something different. She tells him the story of the hobbits in this trench. She tells him what she knows, and what she doesn't. It bring him to tears. He kills the dragon.

This sequence would own anyway, with Ash revealing she doesn't need her powers to fulfill her role, but it's even better with the visuals. Through her time in the trench, Ash has been curled up, cowardly, and cloaked in a long coat. Little by little, she stands, undresses, and literally reveals her thorns.

Moments ago, this lady was crying in a ditch. The heel turn is so fast. She's a force to be reckoned with. In Issue #2, we saw the extreme danger in the voice with Sir Lane, but here we get to see first hand how cold Ash is even without her power.

Other Thoughts

This issue opens with a discussion on what a "dungeon" is in the context of an RPG. Ash concludes two things: 1) People go through dungeons when they have no better options. 2) The world itself can be a dungeon. This is really just great GM advice hidden in the plot of this comic. I've said that the Front was something I stole for a setting in an early campaign of mine, but this intro wormed its way into my subconscious as a way to build scenarios. Really, the only difference between a traditional dungeon and this warzone is that one has a roof.

This is also our first look at the Fair Gold system for the Neo class. This whole encounter with a dragon kicks off because Angela was caught looking for gold by a Clockwork Patrol. This gold is what powers her abilities, but it only works for so long. She's incredibly strong and versatile, but without it she's not much use in a fight.

I dunno, I never found this class's built in story super compelling, but perhaps I'll enjoy it more this go around.

Chloe has pointed out though, Angela is prone to impulsive decisions and attempts to get away from sources of trauma. We can see that with how badly she wanted to play Die in '91 after her dog died. We can see it in the divorce and custody battle with her husband. We're seeing it now with her jump to fight the dragon 1 on 1. I've got my eye out for that going forward.

It's been a lot of action so far, but next time, we'll get some roleplay.

[superthatguy62]

top 5 ffs?

Oh, hello.

Just as a warning, I have yet to go through the post 5 FF games to a significant degree, so I'll be including some spinoffs:

5: Final Fantasy Explorers

I haven't played... well, any Monster Hunter-type games, so FFE was my first taste of it, and you know what? I enjoyed it. I played it on single-player, so it was essentially "Beastmaster: The Game" and the bosses were still fun enough. Also it probably has one of my top 5 favorite Big Bridge remixes and some of the music (particularly the general boss theme and Odin's theme) are highlights for me.

4: Final Fantasy Tactics

It clears the 'higher-than-you'd-expect' hurdle of me being able to actually play a decent amount of a strategy game and is generally fun to boot. I got up to Chapter 3 before the random encounters started kicking my ass enough to discourage me from continuing (though the fights towards the end of chapter 2 really tested my patience), though said encounters didn't help by me playing the PSP version with its magic/animation slowdown. By all accounts, I should probably go for the GBA/DS games since those lack permadeath (albeit with a very different tone plotwise), but I still intend to try out the PS1 version of the first game and hopefully not grind myself into a corner.

3: Final Fantasy 2

Yes, this. FF2's 'quirky' and 'complicated', but I dig the story, the gameplay once your characters actually get built up and just general setting. It's also to read the supplementry material and other notes on what could have been: It really shows that the devs were putting some thought into the story and its a shame how some elements didn't translate properly. It's the type of game where it gets better the more you know of how it works. That said the dungeon design alone holds this back fiercely, especially in the PSP's Arcane Labyrinth (Darkness floor, my beloathed). Speaking of which, the bonus content for this game is probably some of the better such content of these re-releases.

2: Final Fantasy 3

Wow, what a surprise.

FF3 is basically the video game equivalent of "it could be that deep" in my eyes. Because you don't have any of those fancy "Materias", "GFs", Magicites" or even abilities to carry over like in FFV and FFT, you need to team build your way through whatever the game throws at you. Again, FF3 is one of those games that gets better when you have more an idea of what to expect: Getting thrown into a mini-dungeon early on is annoying, but its less so when you have mages prepared ahead of time to either magic their way through or play "pass the Fire Rod that the devs conveniently added". The world isn't fully developed, but the nuggets you can find are interesting, especially the whole duality concept and the existence of the World of Darkness.

But this is also the same guy who has spent however many years obsessing over this game, so you know. Feel free to add some salt to this opinion.

As for why this isn't higher, it's because my image of this game has been ruined by my obsession, and there I feel there is no "definitive" version. All three versions are playable (yes, even the remake) and enjoyable (yes, even the remake), but all have enough pros and cons that I can't fully say one is better than the others. It's the kind of game that feels like it has yet to reach its full potential and I unfortunately don't think there are many people, at least in the west, who would care even if it did. 3's always been the overshadowed game. After all, FF5 is right there. And, oh hey, speaking of...

1: Final Fantasy 5:

Not quite a basic answer, but still a not-uncommon one, I feel. I was very late to the FF5 party, only playing it when the PR came out and not even experiencing it through osmosis like I did with FF6, and while my obsession with 3 means that it will never overcome that bias, I can easily see why people consider it to be the gameplay peak of the Nintendo-era, if not 6. It builds on what 1 and 3 started and the job combos can be fun to play with. That said, I'll admit that part of my ranking it so high is a particularly impressive mod known as "Custom Classes", which allows you to swap out basically all of the commands, meaning that you can carry over more than one skill between jobs. I haven't finished a full playthrough of CC yet, but between that and the reasons I gave for FF3, I'll be willing to give the edge to 5 over it.

Also, 5 gave us Gilgamesh and ExDeath (and indirectly eScape, and therefore The Twinning).

Honorable Mentions:

Dissidia (012): I don't know how to feel about this game. Settingwise: I love the ways it expands the FF1 mythos, but I hate how WoL is a manikin and what that implies for the rest of the FF1 party. It gave me my favorite portrayal of Garland, but it also gave me Onion Knight, whom I resent for sidelining Luneth's party in later crossovers. Even gameplaywise, I like the general gameplay, at least on paper, but I think I get far frustrated with it more than I would with a normal fighting game. Yet, I keep playing or get the urge to keep playing. Maybe it deserves to be on the list? Maybe it doesn't?

Final Fantasy VIII: I haven't gotten far in FFVIII (I finished the Dollet mission) but what I've played so far feels promising as far as my first PS1-era FF goes (some perfectionism on my part aside). Junctioning is an 'interesting' mechanic, but I think I like it. I need to get the hang of Triple Triad, but I can understand how people get hooked on it.

Final Fantasy Dimensions: Albeit with the mother of all asterisks: This is here mostly for the 'idea' than the execution right now. Like the other FFT games, I do have it ready for play, I just haven't gotten around to it, because when I play games on my phone, it's usually the gatchas that I'm stockholm syndrome'd to playing right now and it's rare for me to not be playing at least 2 at a time. At some point I do want to get around to actually playing it, but until it gets like a steam release or something, it'll be one of those "get to it eventually" type games.

Final Fantasy: Admittedly, it has been ages since I played through FF1 (relatively speaking) compared to every other game on this list aside from FFE, so I don't know how much mention it merits. But I'll put it here anyway.

[the-east-art]

Musing on JRPGS

Just like some stuff I've been thinking about. This will mostly talk about Tales of games that I've played and Final Fantasy VII (kind of reviews of these games?)

I'm putting it under the readmore because this will probably be long and rambly!

SO quick background. I love video games but I don't actually play a ton of them, I get busy with a lot of other stuff so while I have a passion for games I would never call myself an expert. Growing up my parents did not want us playing video games, and we only ever had consoles or games because of my rogue grandparents and uncle I believe. I grew up with a Gamecube with no memory cartridge, so games I played we always started over, or had to keep the GameCube on for weeks at a time. Eventually we got one, but that was in middle school.

Most of my experience with JRPGS has been in the last six years. I met a lovely friend with a passion for Tales of games and have slowly been making my way through the catalogue with them. (they're @mewnia and do awesome art!)

Anyways JRPGS! So I have noticed a couple main ideas that guide a JRPG. Most of them are defined by their lead characters story, the world building/magic system, the fighting system, and the cast of supporting characters. Different games are stronger or weaker in the various areas.

The Tales of series and the Final Fantasy series are like sister franchises to me. They both are a long line of titles, all mostly standalone, that deal with the same general magic concepts of spirits and stuff but play around with the rules these elements play by and the role they have in the story itself. My first JRPG was really Tales of Symphonia, and while I remember really loving it, I also played it way back in Middle School. I could talk about it, but not in a way that's analytical enough for this discussion. There is also kind of a classic JRPG mid game twist, where we discover that the world is not what we thought and reveal the 'true' plot of the game.

The Tales of series while not the most popular series in the west I really love the general design elements that they choose to go with. I feel like they're just stylized enough to stand out (with the exception of Arise, which makes me worry for the future of the franchise) and their designs walk an interesting line between complex and and just approachable enough for an artist.

Tales of Vesperia - This was the first one I played with my friend. The overall story isn't anything special in my opinion, but where this game really shines is the the side characters. This may be one of if not the best JRPG I've played so far that has the characters dynamics not only feel so good, but has each characters narrative arc integrate into the main story in such an intuitive way. Many JRPGs I've played will have the main plot basically come to a standstill in order to address the side characters stories. However each character in this game has a significant relevance to the main plot, and while circumstance brings them together, it's their choices that keeps them together. Because you connect so much with the characters, this game made me have some real emotions during its' various character twists (I'm looking at Raven here) Although this games mid game twist isn't anything crazy.

Tales of the Abyss - Boasting some of my favorite character designs, this games overall plot is definitely one of my faves. I think it does its' musical motif really well in the worldbuilding. The main character specifically has some of the best written progression and development over the course of the game, which does a good job at feeling real. Both this game and Vesperia has a relatively simple battle system, but I especially like how I feel like I'm really in control of how I play my character, and that I'm making choices in battles. Again I think most of the credit to this game goes to its' good world-building.

Tales of Xillia - This one boasts some of my least favorite character designs! congrats! I just felt like the designs are too complex and as a group not harmonious. When all the characters in Abyss stand together I was very happy. When all these characters stand together it looks like a mess. That being said the mid game plot twist in this game KICKS ASS. I LOVE IT. The issues in this game are one of my faves in the moral complexity, with lots of attention put towards how we prioritize certain people in our societies. I recall enjoying the fighting in this game too, and this is the first game I think I played with a really unique ability to customize your characters with little silly props. 10/10 all games should have this.

Xillia 2 - I will just touch on this one briefly. I have big love for the protag in this game, and it has good world building. I love alternate universes. Getting to see the paths the main characters took after the events of the first game is nice, although I would have appreciated a couple more new characters in the team. The affinity building dynamic was unique to this game and something I particularly enjoyed. Ludger is also very hot. there I said it.

Tales of Zestiria - This game is, uh, fine. Designs are fine. Character dynamics range from really good to just meh. The story is pretty vanilla, which I think is on purpose? Since its like a King Arthur retelling. I feel like this game has a really weird battle system where your attacks are judged by combo rather than direction button presses, which made me feel less in control of my characters fighting. However the magical girl merge mechanic in this game made up for it. Despite being such a vanilla story, I also found myself really confused a lot? Like the names and stuff for some reason were really hard to follow? But that's okay because this game sets the stage for....

Tales of Berseria - a prequel to Zestiria, but best played after it. The vanilla tone of Zestiria perfectly sets you up for the INCREDIBLE story of Berseria, where you play as not only a morally grey character, but in many ways an actual villain. The character dynamics in this game are really fun, as most characters are also leaning into the morally grey archetype, versus some of the characters that are kind of trapped with the group but are more archetypical good characters. It ends up really making you look at the story from a lot of different angles. The designs can be hit or miss in this game, ranging from awesome to 'I know you could do better'. The fighting in this game is one of my faves, requiring some real thought and the ability to have unique abilities taken from enemies spices things up a lot. This game is, without a doubt, a tragedy. And while by this point I was kind of tired of Tales of games never giving it's protags happy endings, I can't deny that this ideas was a theme throughout all the game and all the characters arcs.

Alright so, Final Fantasy VII

So, because I have played so many Tales of games, it is with the eyes of a tales of player that I analyzed Final Fantasy when I finally played it a month or so ago. Final Fantasy VII was an archetype game, defining a genre. That means that it is both very good, and also very lacking in the quality of life additions that we take for granted in more current games. So I won't belabor you with those critiques, just know that they're there. The designs in this game are good! very different from the Tales of series that I know, these character designs are a little more grungy looking, but overall I think the team looks good all stranding together and in the world, which is what matters the most. The magic system is something very unique, with the idea that the lifeblood of the world is also the knowledge of the past, and the materia system is simple enough for a beginner but also complex enough that if you should choose you can really dig your teeth into it. I personally really love the story of this game, both as it played with trials of the main cast, and the political power of Shirna in the face of the apocalypse. I think it's particularly telling and realistic that even in such a circumstance, the government will attempt to fight both the apocalypse AND the main cast rather than uniting. Character arcs are VERY hit or miss. We have some arcs that incorporate perfectly into the main story such as Aerith's, some that are only there to support the main characters (Tifa), some that stop the main plot in order to be pursued off to the side (Red XIII, Barret, Yuffie), and some that are barely there is at all (Cait Sith and Vincent). Luckily we have the remake in the form of future hope that some of these characters will get the spotlight and attention I feel they need.

Anyway uh if you read this all thanks! Mostly I wanted to get some of my thoughts down so I wouldn't forget it. IDK if I'll ever make a JRPG of my own, but I do really love JRPGS. I find the large cast to always be very fun, and the different ways that the games build up a world around similar building blocks to make unique stories is really interesting. Sometimes these worlds are the main focus, and sometimes they are just a beautiful backdrop for the plot.

[thecraftyfoxthewriterscorner]

Stories Featuring Animal Friends

Some thoughts on how animal friends fit into storytelling. 🐾

Hey Story Crafters,

A lot of my favorite stories feature animal companions. It’s one of my favorite storytelling tropes—and I’m sure many of you will agree with me. I think the bond that can form between a person and an animal—the absolute trust and devotion that can develop—is a bond most people either wish they can experience for themselves, or have experienced it, and enjoy seeing other types of person-animal companion bonds develop.

If I had to trace it back to a source, it would probably be Pokémon. Or at least, that’s my earliest memory of a creature companion being featured in a story other than Disney movies. I loved watching Ash encounter new Pokémon, gradually gain their trust, become friends and then go on adventures together. I rewatch the Indigo League arc every once in a while, and I still experience that sense of wonder and get hit right in the feels while watching Ash (and Misty and Brock) interact with Pokémon. And naturally, I haven’t outgrown the need to read or watch stories that feature animal friends!

Based on the media I’ve consumed, I’d say stories featuring animals can be divided into two categories: animal companions and anthropomorphic animals. I’ll share a few examples of each below and my thoughts about them from a storytelling perspective.

Animal Companions

In some stories, the world-building creates the expectation that animal companions aren’t unusual. This is the case in Pokémon (or Pocket Monsters), where inhabitants of this story world can breed or catch wild Pokémon and train them. This then leads to the expectation that the main character’s journey will involve Pokémon: Ash’s goal is to become the greatest Pokémon master.

In other stories, animal companions may be used as part of the world-building to establish a fantasy setting, or fantasy/supernatural elements. This is true for Brian Jacques’s Castaways of the Flying Dutchman, in which an angel curses all of passengers on the pirate ship, The Flying Dutchman, with immortality. Among the passengers is a cabin boy named Ben and his dog, Ned—and because they are the only innocent souls on board, Ned is gifted a human-like consciousness and a telepathic bond with Ben. Another example is Nghi Vo’s novella, The Empress of Salt and Fortune, in which a cleric named Chih is partnered with a hoopoe named Almost Brilliant, and tasked with recording stories. In both of these stories, the connection between the main character and their animal companion serves as a reminder that fantasy, supernatural elements exist in their respective story worlds, even if nothing else fantastical happens as part of the plot.

Anthropomorphic Animals

I was a big Brian Jacques fan when I was growing up. Before I read Castaways of the Flying Dutchman, I was already hooked on his Redwall series, a fantasy children’s book series featuring anthropomorphic animal characters. For those unfamiliar with Redwall, its story world is similar to Disney’s Zootopia in that the inhabitants are divided into “good” and “bad,” with the Redwall series being more concrete about which species falls into each category: with woodland creatures like mice, otters, squirrels, hares, and badgers (“good”) vs. vermin like rats, stoats, weasels, and foxes (“bad”). Basically, it was another way of identifying the heroes vs. villains, cops vs. criminals in storytelling. This allowed Jacques to tell straightforward stories of good vs. evil using the types of characters most children identify and like to play make-believe with—animals.

Juneau Black’s Shady Hollow series also features anthropomorphic animals characters, and like other media (e.g., Redwall series, Zootopia), it doesn’t dwell on the logistics of how predators can coexist with prey animals. While a character’s animal traits may be addressed to establish setting or make observations, the focus is on solving the mystery established at the inciting incident. There is no good vs. evil, just characters living their lives and making choices to the best of their ability. A predator can be a spunky reporter like Vera Vixen, eager to sniff out a new story to publish for Shady Hollow’s local paper, and a prey animal can be the suspect—or culprit—in a crime that’s been committed.

As with any storytelling element, the relevance of the animal friend trope needs to be weighed, and woven into the storyline. If you’ve recently finished a manuscript that features animal friends, I’m the editor for you! I mostly edit fantasy, dark fantasy, science fiction, and horror, but I’m open to working in most genres if an author and I fit well together (like cozy mysteries!). Get in touch below if you’re interested in working with me.

Visit The Crafty Fox Editing Services!

Send me an email!

Until next time!

Leah

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