#literally the only actions I had was “talk to people” and maybe fight

[shslpunkartist99]

It's been confirmed that if Yanfei is part of the quest line, it's gonna be the most boring shit to deal with

[fangsandfeels]

"Everyone gets along because there is a threat", yadda, yadda, yadda.

Bullshit. This is not how real scenarios work and it has never been.

russia is a global threat right now, but the world can't decide between sucking its dick and politely asking it to stop because the mere thought of confronting russia makes it shit its pants. The very few countries who scream into the void, warning about russia and telling people to wake the fuck up are ignored and viewed as crazy doomsayers.

This is how real crisis looks like. Nobody works together against a threat because people are spineless cowards who would rather throw their neighbors under the bus than fight. Nobody learned anything from history lessons, books or survivors.

The only difference in a fantasy game is that NPCs end up having more spine and moral principles than real people.

But in Veilguard, everyone gets along because they have NO reasons not to.

Davrin has no real reasons to beef (if you can call it that) with Lucanis because he is a Grey Warden. He knows where Grey Wardens take their conscripts from. He knows that Grey Wardens regularly recruit mages who are a lot more likely to get possessed if they're not careful. Working with an assassin who knows friend from foe isn't the worst thing ever. One subtle warning about taking action if demon takes over is enough.

Taash has no reasons to antagonize Emmrich aside from horrible writing.

Neve gets along with Bellara because writers gave Bellara a happy childhood with her family and turned Dalish artifacts into Apple store gadgets, while refusing giving Neve any nuance as the citizen of Tevinter.

Emmrich gets along with everyone because he is generally a kind and well-mannered person who doesn't like to stir the pot.

Any companion who could have had a sharp edge, got that edge ripped off and a cartoon band-aid slapped on.

Never doesn't deal with people who don't know about Shadow Dragons (and they probably shouldn't know much because when you work against a powerful government who wants to destroy you, you shouldn't show off), so she constantly has to deal with the fact that people assume she is a noble or a slave-owner because she is from Tevinter; that they don't know that she had to literally fight against being enslaved herself because in Tevinter mages who refuse to use their power to dominate others are turned into slaves as well.

Bellara isn't conflicted about working with humans, especially Tevinter humans at all. She seems to never have dealt with oppression her whole life and she is super quick to write off Cyrian as evil even though there are clear SIGNS that he was tricked and controlled by the Forgotten One. But no, she never thinks "He is still there, I can save him, I won't lose him again", she goes straight to "Oh nooo my brother is dead to me".

Emmrich doesn't get burdened by people reacting to him and his sincere intention to help with fear, because of all the sinister rumors revolving around necromancers and Nevarra. He isn't hurt by people assuming that he loves death and things dying. If even he openly admitted that he is deeply terrified of death, they wouldn't have believed him.

Harding isn't burdened by the revelation she learned and what to do with it. Should she storm her way to the Orzammar? Should she talk to fellow surface dwarves and reconnect them with their history? Should she never breach the subject because the truth hurts and it's too much pain, too much anger to live with - and maybe she shouldn't let other dwarves go through it?

We don't even have a party divided on what to do with Solas (kill or talk it out)? Even though it's logical to have companions who are convinced that Solas has to die and those who think that he is misguided and can be convinced to stop.

Also, there are NO companions whose background, viewpoints and attitude would rile other companions up. We have no controversial characters whose interactions with the crew Rook would have been forced to intervene in unless they want their team to start throwing hands with each other.

We could have had Imshael - to give EVERYONE a reason to worry, and argue, and have conflicts. We could have had an ex-Venatori Calpernia bashing heads with Neve, Bellara, and Emrich. We could have had a Qunari spy who'd make Lucanis' dagger-arm itch.

If writers didn't forget about the Architect, we could have had an intelligent Darkspawn companion Davrin could be losing his shit around.

Or heck, we could have had a former red templar who got partially (magically?) reversed from their mad state and is now not a mindless beast, but still is on a borrowed time, probably needed due to their strength, but barely tolerated by anyone.

Who is fanatical, mostly because they have to believe they made a noble sacrifice, that it all was for the greater good -- because the truth scares them to their core. Who gives Lucanis shit for being an assassin and abomination, who bashes necromancy, and mages, and talks about purity, while downplaying their own actions as "Yes, these are my sins, but they are for the better world, and I would be proud to die for that world unlike you heathens who would rather ruin it than repent for your flaws". The kind of companion you'd initially want to do nothing with, but who can reveal an entire gallery of fucked up contradictions and trauma if you decide to keep them around.

However, writing such companions takes skill, courage, and requires absence of greedy corpo "we don't want to scare away new players with all that moral nuance" thinking.

[seeker-ophelia]

Mythal, Solas, and Lavellan

So there’s lots of discussion about Mythal and Solas, and we need to talk about it.

I too, at first, was mad that Lavellan wasn’t enough for Solas.

And then I started thinking about it.

Not only was Mythal his mother, his creator, she coaxed him into being. Into changing his spirit and his purpose.

Regret Number 1.

He let her use his knowledge and wisdom to do a terrible thing, to kill (tranquil) the titans, changing a whole race of people at a molecular magical level.

Regret Number 2.

When that choice created the worst power known to Thedas (the blight) he was responsible again. And Mythal asked him to step up and fight against it, and he did. And a lot of people died.

Regret 3.

Mythal DIED. (IMO The gods blighted her because she stood against them for wanting to use the blight but that’s not important here). And Solas blames himself.

From Solas’ perspective, he is her puppy. Her Emerald Knight. Her General. Her Protector. Her Wisdom. Her servant, her SLAVE. He is BOUND TO HER. And he caused her downfall.

And you’re all like, GEAS! GEAS!

But wait.

From HIS perspective.

Rook says something somewhere along the lines of like, by abstainsing from being the good guy (oh wait maybe it was Varric in the fade…)

By choosing to be the villain instead of the hero is he absolving himself of the guilt (regret) that comes from having to have made those choices.

From Solas’ perspective, he is her slave.

LOOK AT HIS BODY LANGUAGE.

He is a worm in the dirt in front of her. He is a scolded child, a puppy with his tail between his legs.

But in the eyes of Mythal, he was always her friend. The one person who had always stood by her. She did not literally entrap him, or bind him. It was all in Solas’ own head.

He refused to take accountability for his actions, only able to survive through the crushing weight of his own guilt by blaming it on servitude to Mythal.

That’s why Rook escaped the prison. Because she faced her own choices, choices with terrible consequences, and accepted them. Took responsibility for them, and promised to do better.

Remember, after the Temple of Mythal…

Solas…

You gave yourself into the service of an ancient elvhen god!

What does that mean exactly?

You are Mythal’s creature now, everything you do whether you know it or not will be for her. *** You have given up a part of yourself.

***THIS WAS NEVER TRUE. IT WAS NOT TRUE FOR FLEMYTHAL & MORRIGAN, NOR WAS IT TRUE FOR ABELAS, NOR WAS IT TRUE FOR SOLAS. HE JUST WANTED TO BELIVE THAT IT WAS.

…I suppose it is better you have the power than Corypheus. Which leads to the next logical question… What will you do with the power of the Well once Corypheus is dead?

The war proved that we can’t go back to the way things were. I’ll try to help this world move forward. **Lavellan is talking about the mage/templar conflict, but Solas is putting her in his own shoes. Solas reached for power he could not control and fucked the whole world up.

You would risk everything you have with the hope that the future is better? What if it isn’t? What if you wake up to find that the future you shaped is worse than what was? **

**This is literally him asking her what she would do in his shoes. He woke up and the world was in chaos OF HIS MAKING. To prevent an evil HE CAUSED from spreading, he orchestrated the downfall of the people he loved and swore to protect.

I’ll take a breath, see where things went wrong, and then try again.

Just like that?

*He is in shock that she can be so cavalier about the guilt that has rocked him for (4?) millennia.

If we don’t keep trying, we’ll never get it right.

*And this is the only thing that calms him down.

You’re right. Thank You.

For what?

You have not been what I expected, Inquisitor, you have… impressed me.

You have offered hope that is one keeps trying, even if the consequences are grave… that someday, things will be better.

Then, of course, he takes this to mean that he needs to try to put The Evanuris in a different prison and take down the veil which isn’t at all what we meant sweetie but that’s okay get up and try again.

This is a classic case of a person in power not understanding the terrible, horrible consequences of unfettered power imbalances. Because Solas was always Friend to Mythal (Im not going into Freudian sex shit with you weirdos right now).

Solas was Mythals FRIEND.

Mythal was Solas’ EVERYTHING.

co·de·pend·en·cy

/ˌkōdəˈpend(ə)nsē/

noun

excessive emotional or psychological reliance on a partner,

His Mother, General, Creator, Protector, Queen, Goddess.

And he loved her so fiercely with every fiber of his new, physical being.

And he hated it.

And when Lavellan fell for him, and he for her, he was afraid.

Because he would never force a spirit against her purpose, and in his eyes the only way to love is the sick and twisted way he loved Mythal.

But again, from Mythal’s perspective, it wasn’t twisted. Solas was just Solas. And once again the powerful care not for the thoughts and opinions of those beneath them.

And that sin is on Mythal.

And that’s why she comes out and talks to Solas. Both aspects of her. To release him from the bonds that never existed. Be free, friend. You always were, but if you need me to say it I will because I love you.

“I pulled you from the fade and sent you into war. I used your wisdom as a weapon… and it broke you.”

Cole: Is there a way to save more spirits, Solas?

Solas: Not until the Veil is healed. The rifts draw spirits through, and the shock makes demons of them.

Cole: Pushing through makes you be yourself. You can hold onto the you. Being pulled through means you don't have enough you. You become what batters you, bruises your being.

Be free.

“The things that I have done…”

“Are not for you to bear alone, my friend. The many wrongs we did, we did together.”

And he COWERS before her. Shaking and shuddering. FNALLY being absolved of the guilt he’s carried since his inception.

“I release you from my service.”

And he SOBBS. At the RELIEF.

And Lavellan kneels before him (wrong, IMO because they should be equals but its fine)

And he can go back to his original purpose.

Not Pride.

Not Knowledge.

Not even Wisdom.

But Protection.   

“My life force now sustains the veil. With every breath I take, I will protect the innocent from my past failures.”

The Shepherds Wolf. Protecting his flock from those who would do them harm.

And Lavellan promises it won’t be terrible, as long as they’re together.

And maybe Solas can try this different kind of love. A love built on respect, and trust, instead of fear, and obedience.

And he can be his purpose, Protection, and also be a man. And love his vhenan.

Because he is free.

[knightsickness]

Rhaenyra being a good person and ruler is not boring. Ned was boring?

was considering answering this with ‘lose the question mark’ but that felt mean i do like ned i think hes a good character. and the thing is ned is a boring guy on a personal level all characters agree but he isnt a boring character nice ≠ boring i dont need everyone to be evil. i dont dislike rhaenyra just bc shes soso nice and i only like villains

i dont know when ‘a character having strong motivations and flaws makes them more compelling than a character who is inoffensively nice’ became controversial i would consider it character writing 101. hotd fans leap down your throat about it bc of the teams discourse. ‘aegon was more interesting than rhaenyra in season 2’ isnt an aegon rules rhaenyra drools team green argument it is objectively true aegon is more motivated and he does more

it is not compelling character stuff and an insult to emma’s abilities that they wont let rhaenyra do anything or have any motivations apart from a) peace shes a pacifist and doesnt want to be in the war she is a de facto leader in except maybe she does want to be in the war? (dragonseeds) b) the stupid prophecy c) the throne but she refuses to have a war about it bc see point a). and she states these motivations every episode but theyre actively contradictory so as a result she just doesnt do anything shes almost entirely reactive. if she really cares so much about not having a war and harming her people there are many actions she could take to change that and make a peace but she wont do that bc she wants her father’s throne (far more sentimental and niceys than anything as selfish and crass as her ugh just wanting the throne) and believes she has to be queen and is the chosen one bc of the prophecy. but she doesnt want a war bc women are wise and war is bad so so so she got main character screentime and did almost nothing in eight episodes. end of season 2 even though the war has been literally happening around her people are still talking about when rhaenyra is going to recognise this and start acting like it. a goalpost that has been moved from lukes death to jaces death bc lukes death affected her and her policy veryy little considering how confident everyone was that this means WAR get ready for a NEW DARK RHAENYRA a mothers RAGE. and that just didnt happen at all

baela and to a lesser extent rhaenys also get hit w this really hard theyre a blandly inoffensive Strong Female Character slurry being smeared on my face like im a baby and id get scared if they had any selfish desires. and this does work at pleasing people who are already tb fanatics yayy girlboss imagine liking the creeps on tg over these characters who are women who are nice but it makes for dull characters and plotlines it insults the ability of the audience to like women unless theyre completely sandblasted of anything potentially controversial. i have no idea what motivates baela to fight for rhaenyras cause other than ‘shes jaces nice girlfriend’. and thats really bad !! ned cat brienne sansa dany etc wanted and did things characters can be nice and morally good and motivated and compelling

[kermitthesog]

ok quick rant post.

*HUGE TOA SPOILERS BELOW*

i just saw somebody say jason’s death was poorly written.

i mean this in the most respect way to those people saying that jason’s death was meaningless and careless…did we read the same book?

first of all, it was not anticlimactic. It would’ve been unexpected for me if i wasn’t spoiled. he quite literally went out with a bang. he made a gigantic tornado/storm to pretty much single-handedly fight an emperor. i mean, no one around him was equipped or ready to fight. he was doing so good, but he knew he had to die anyway. he might’ve tried harder if he hadn’t heard the prophecy about him or piper dying. my point is, he did not seem “nerfed” or “not powerful”, apollo was really impressed by his skills in his narration.

i saw somebody say they didn’t it like it because he had so much potential. that’s the whole point though!!! many tragic deaths are brought to life by an unkept promise or something they couldn’t carry out before they died. all of jason’s storylines were going to lead him somewhere great, but of course it couldn’t go like that. rick riordan pretty much put in that whole part with apollo and jason talking about his promise to the minor gods to dangle that in front of us. to emphasize how tragic his death was.

people say his death was only for apollo/lester’s character development? i don’t agree. i mean, yeah, that was a huge thing that came from it. throughout the rest of the books, he tributes his growth and actions to jason. but i don’t think that was the only reason for it. i saw a great post by @a-cup-of-coffee-and-the-moon about this. go check it out here, but basically they say that was it inevitable (they go to say it was because he went against zeus, and the greek leaders had a history of their sons overthrowing them). even other than that, it developed the storyline and the whole trials of apollo series in general.

ok so maybe that wasn’t quick. but still. i hope i proved my point. i am a huge jason defender and i just hate when people comment on his death like this. he’s dead, guys!!! that’s just like pooping on his grave! ok, but seriously, we need to end the jason death slander. i feel like some people see something they don’t like and come up with reasons as to why it shouldn’t have happened and why it was weird that it did. i mean, yeah, i didn't want him to die, but i’m willing to accept it and respect him.

[glitter-stained]

Look, I'll say it: Zurr isn't a magical demon that took over Bruce's body, it's a vilifying, demonizing take on induced DID. I can't keep seeing people fight to defend Bruce's honour in Gotham War by saying "it wasn't actually him so it's not his fault", reject the Lazarus Pit Madness headcanon because "Jason and he alone did his crimes and he has no excuse", and then we're talking about how Bruce's or Dick's trauma is what made him a hero, one post later on my board it's "the lazarus pit madness headcanon is unnecessary because Jason's behaviour is completely explainable and logical if you just take in account that he has cptsd" (or bpd depending on the post) and then that fanfic I had to stop reading because a character literally was screaming at Jason "so what you died get over yourself but you weren't magically controlled by the pit so you have zero excuse and justification for being angry" and then a post about "wow why is Batman punching down on all these mentally ill people", and then in the replies "are you dumb it's because those crazies are bombing orphanages..."

I'm still thinking about that moment in "dumpster slasher" where Batman is like "the killer is still free while poor Elmore [a homeless guy with substance use disorder and major neurocognitive disorder] is being shipped off to Arkham... This doesn't sit right" yeah buddy I'm sure if you ponder that for a while, the reason why the fact the only mental health facility in your city is also a prison for dangerous criminals with no apparent mental illness doesn't sit right with you will appear to you eventually.

Maybe it's time to confront the fact that the difference between a hero and villain in dc is often whether their mental illness is demonized, glorified or minimized. Or the fact that attenuated circumstances and responsibility exists on a gradient and there is such thing as "altered responsibility due to mental illness" in a trial. Maybe it's not "oh it was this evil Zurr/Batman entity, not Bruce/Batman, so there is no responsibility to be taken and anyone condemning those actions as abuse is talking in bad faith" maybe it's "this is a terrible representation of something that exists and should be treated respectfully" and "I don't have to accept this terribly harmful rethoric and fucked up depiction into my conception of my fav's characterization in such a dislocated, often incoherent canon if I don't want to."

And also maybe it's "if we accept this event/depiction as canon it doesn't mean that we have to either bash the character completely or erase his mental illness into something vaguer/mystical that would somehow absolve him of his place in this situation".

And maybe it's "what does accountability for your harmful actions looks like when your judgement was heavily impaired by mental illness, and what judgement can be placed upon you and who decides where people are placed on that continuum of responsibility and how do we acknowledge and go forward into repairing things when severe harm/abuse was done under impaired judgement and also how do you reconcile all of this with your sense of self, (especially in conditions like bpd/cptsd and especially did where the sense of self is already so altered/complicated) with what your values are, what you want to be, what you are capable of doing and what you thought about yourself before the bad thing happened." I don't know any simple, correct, good answer, especially not a one size fits all. All I know is: the desire to be a good person, and be able to distinctively separate people between bad and good, is profoundly human and, at times when lines of responsibility get blurry, profoundly unhelpful. Most people who are going to hurt you aren't mentally ill. Most people who do terrible things aren't mentally ill, and sometimes people are mentally ill and hurt people and the two have nothing to do with eachother. But it is also a reality that sometimes judgement is impaired and behaviour is altered due to mental illness, and then you need to figure out where to go from there. Acknowledging this while also fighting stigmatisation is a complicated business. It's messy. Mental illness often is. I'm weary of any rethoric that pretends it's simple.

[raven-at-the-writing-desk]

Sometimes I wonder how Eric Venue would react when he finds what happened to Vil. His son has overblot, got kidnapped not so long after his overblot, got involved in fighting another overblot, and he got old. How is he going to think about all of this?

Based on what we've seen and heard of Eric, he generally presents as very charismatic and easy to talk to. I'm sure a lot of that comes from his career as a celebrity--he has to have good camera presence and communicate well with those in his industry + fans. However, Vil tells us that while Eric is usually amicable, he can be a very different person when it comes to work and business. We the players never get to view this serious side to Vil's dad; it's only ever alluded to or mentioned in passing. I'd imagine that this is the side of Eric that comes out when he learns that his precious son, the apple of his eye, went through so many grueling experiences.

As a father, Eric must know how hard Vil works for his beauty and his career. I don't see him as the type of person to go and blame others for Vil overblotting; I think he would always have had that worry in the back of his mind. That's why he actively tries to make time for his son, even with both of their busy schedules--because otherwise, Vil might not have those reminders to take time for himself. Learning that those fears have become a reality would have Eric worry even more. Anger and upset would be secondary to that; I genuinely don't see Eric as a belligerent/vengeful person or someone who would blame others for something ultimately Vil (and his spiraling emotions) did. (Yes, Vil is the result of people labeling him as something he's not, but you cannot truly blame a system or reasonably be mad at a vaguely defined group of people/the public.) I feel like he would be more upset that whoever's in power (probably Crowley, lol) didn't take more preventative measures or didn't intervene sooner. Maybe Eric would be sitting in a meeting with Crowley and demanding to know what steps the headmaster intends to take next to keep his son safe. Like, not shouting at Crowley but moreso directing a very cold, stern anger toward him. I don't believe Eric would do something scummy (such as threatening to leak this to the media) in order to make Crowley take action. Such a thing would be disastrous for Vil's reputation, and I believe Eric would want to respect his son's boundaries and not act in overprotective ways that encroach on those boundaries.

Everything that happens to Vil in book 6 would still cause Eric to worry, but I think this time there would be a more positive spin on the events. Yeah, he is still very concerned about Vil being kidnapped, fighting an OB, and then losing his youth in the process. However, I do think that Eric would be less upset about the kidnapping since no harm really came of it and Vil did consent to being studied. Ultimately, Eric would be proud of his son for surviving those ordeals and especially for being so heroic that he was willing to throw himself into literal Tartarus to save a classmate. I just see Eric smiling from ear to ear as he embraces his son, welcoming Vil back and telling him that he truly is the fairest of them all, both inside and out.

[solarsturniolo]

ik you've been critical of the triplets before (breath of fresh fucking air tbh)

wanted to know what you thought about the whole mallory situation? she made a tiktok saying she was concerned about their physically aggressive behavior and how she didn't think it was right that they would act like that, and they responded to her tiktok in a friday video. idk i certainly have thoughts but i wanna hear yours if you're ok with sharing them

Oh i was waiting for this one.

To start, THIS IS NOT A HATE POST. But it is something that needs to be said. I’d also like to clarify that i’m not trying to ‘clock’ anyone in this post. This is not meant to spiral out into another episode from them or their fans, but if they aren’t going to be good role models for young impressionable children, I will.

First and foremost, absolutely nothing about the way matt reacted in that video was okay. He is 21 years old, he is a grown adult that pays bills and taxes. He should not be laying his hands on anyone in an aggressive matter, even if they are just brothers. Whether you agree or not, that was abuse. Here is the Oxford dictionary definition of the word abuse, for those of you who need clarification.

Now of course, including content like that in a video is an option. And it was an option that they decided to take. Nick DID NOT have to leave that in the video, and if he hadn’t it wouldn’t have caused so many issues. What gets me the most is that some part of him KNEW it was too much because he edited half of that moment OUT of the video. We saw the extended clip through their photodump that shows just how obnoxiously aggressive Matt’s tantrum was. Not only did he hit Nick (quite hard and in a very vulnerable spot), but he also took a gift that Nick had gotten (gag gift or not, it doesn’t matter) he threw it onto the ground and told him to go and pick it up. The average person knows better than to behave that way, and it was very alarming to see that behavior from someone that we all look up to.

This led to a large divide in the fandom. Some people were (understandably) very uncomfortable with Matt’s behavior. And some people defended it with their lives. Now i’m not saying me and my sisters never fought, but we don’t lay our hands on each other. Idk maybe im out of touch with some new-found sibling abuse agreement or something, but we don’t hit each other. We argue, we get mad at each other, we fight and we make up.

Personally, i don’t think there’s anything wrong with calling out your idols when they do something wrong. At the end of the day, we’re all human and we all make mistakes. It’s easy to forget that when you let fame and money get to your head, making you feel invincible because you know your bandwagon of 13 year olds are going to be at your every beck and call. It’s our job as supporters to remind them that mistakes are okay, but accountability still needs to be taken for actions like that.

When you are in a position where you pay your bills by posting your private life on the internet, you cannot get angry that people are going to have comments and opinions about the stuff that you post on the internet…Nick made a comment in yesterdays video about how people need to mind their own business, but…you…willingly posted…that clip to the internet. For millions of people to see. Nick did not have a gun to his head while editing that video, he did not need to include it but it was a decision that he made.

One reason why i don’t watch them anymore is because they refuse to take accountability for anything that they do. They have also been drawing this out much longer than they needed to. The fanbase would’ve talked about it for a week and forgotten about it with the next friday video. The only reason why it’s still getting attention is because they so badly want to seem ‘unbothered’ by it but they keep bringing it up in everything they do. Matt’s instagram story, his comment on Nick’s recent post, their recent tiktok…literally anything that they have posted in the past week and a half, Matt and Nick just CANNOT HELP THEMSELVES from making a snarky comment. It’s a very icky trait to have imo but i’ll keep my mouth shut on that (since it’s illegal to have opinions in this fandom.)

Personally, I think Mallory was valid in her opinion and responses. Maybe terrifying was a strong word to use, which she has addressed, but it’s not like the boys don’t use hyperboles ALL THE TIME. And nothing about her video was her trying to “cancel the triplets”, she was simply sharing her concerns with Matt’s behavior.

The fanbase LOVESSSS to jump to conclusions. Most of us that had an issue with Matt’s behavior were not trying to cancel them. We’re frustrated because they’re grown adults who refuse to take any constructive criticism or accountability. I’ve said it before and i’ll say it again, the boys dislike ANYONE who is NOT AN ENABLER. Especially Nick. They LOVE an enabler that doesn’t call them out on their crappy behavior.

Back to yesterday’s video, I was VERY unimpressed with their responses. Snarky comment after snarky comment, only proving more and more that they aren’t unbothered by the situation because they’re trying so hard to prove a point. Why not stay silent like you do with everything else? Your ‘friend’ (who you still communicate with but won’t publicly hang out with) who was cancelled for contacting minors? Didn’t have much to say about that did you? But the second something makes them look bad, they jump the gun and go right into defense mode. It’s so funny to me because people would respect them so much more if they just took some accountability, reflected on their actions, and made a change to their behavior.

Including her tiktok in their video was yet another choice they made, and it was a very immature one. You cannot tell me they didn’t think about the outcome of this situation. Singling out ONE PERSON’S VIDEO, putting a target on their back, and opening the gates for these 13-15 year old hellspawn brainwashed sturniolo cult fans to go and cyberbully someone for having an opinion (and a respectful one at that.)

Also trying to blame Chris and saying Matt was ‘provoked’ into hitting Nick???? Chris made a simple comment??? And this is NOT the first time Matt has gone overboard in a reaction he’s had to one of his brothers. He’s had many outbursts, all of which ARE concerning. Throwing things aggressively, hitting, punching, cussing your brothers out on camera…it’s fucking humiliating???? I am so sorry to break it to you all but nothing about that interaction was Chris’s fault AT ALL. So for Nick to pin it on his younger brother, i found it absolutely ridiculous.

And, to sum it up, Nick did not ‘clock her’. I’m sorry but his responses when people call him out always remind me of a middle schooler. He refuses to take any accountability. HE edited the video. HE kept the clip in. HE posted the full clip on their instagram. NICK STURNIOLO DID THAT. HE DID NOT HAVE TO DO THAT.

Can’t wait for reacting to hate comments part 2!!! Because, let’s face it! This isn’t hate, it’s the truth. I’m not an enabler and apparently that makes me a hater.

And yes, they over-do the drama for our entertainment, but they’re so much more entertaining when they’re all getting along?! Even if they have an argument, it’s far more entertaining when they aren’t hitting and kicking and punching. I genuinely think their emphasis on the physical aspects of their videos came straight from the tea party video, because it’s just gotten worse and worse since then.

I haven’t watched them in months and decided to watch that video and it was a clear reminder as to why i don’t watch them anymore. This is not a hate post, i will always be grateful for their videos because they’ve gotten me through some of the darkest moments of my life. From abusive relationships, to losing a loved one to suicide, to the loss of a childhood pet, to losing my job, to trying to take my own life…I am beyond grateful for their videos and I always will be. That being said, i think they have some serious maturing and reflecting to do if they want to continue to grow at the speed they were growing at a year or two ago.

Yes i think Matt is a sweet guy. No i don’t think he meant anything serious by hitting nick. The point is that it does make some of us uncomfortable to see that behavior from a grown man because so many of us have experienced abuse. I’m not saying we’re weak or snowflakes for our responses either. Posting your outbursts on the internet for 6-7 million people to see is a choice, and you cannot expect it to come without consequences.

[gabrielleyueerrrrr]

Theory about Chosen and Second's relationship

Many people portrayed a loving sibling relationship between Chosen and Second after AVA season 2. While I absolutely adore this kind of dynamic between them, a nagging voice keep telling me that this was unlikely to happen.

I need to state the fact that Second killed Dark before Chosen's very eyes. Yes Second's action is completely justified because Dark brutally eliminated their friends, yes Dark is a menace to the internet and the entire stick society, yes Dark was going to attack (and possibly kill) Chosen if not for the Colour Gang's intervention, yes even Chosen himself stood against Dark and gave his all when fighting Dark, but that still doesn't change the fact that Second just obliterated Chosen's best and probably only friend since he was created.

Psychology says that our brain would deliberately forget unpleasant memories and only keep those fond ones to protect us from too much negativities. That's why we often think that our lives are better in the past, even if our situation had only improved over time. This is because we don't recall the bad things happened to us as painful as they really were.

If stick figures' mind work the same way as ours, when Chosen revisited his memories of The Dark Lord, he would more likely remember Dark as the stick who showed his inventions to him with child like enthusiasm,

who had terrible handwriting,

who fought with him side by side for many years,

who, though being literally programmed to destroy him, didn't hesitate to take his offering hand and fight back against their creator.

Not the ruthless psychopath who wanted to dominate the internet.

So yes, Second saved the internet and Chosen's life, and we know that Chosen held a deep gratitude towards Second for that. But every time he looked into the kid's eyes, would he not see his best friend's murderer? Would he not have flashbacks of his best friend being blasted way to death by the laser beams from these very pair of pupils?

Of course he wouldn't blame the kid for it, so the only person he would blame is himself. If only he discovered Dark's plan sooner, if only he talked with Dark instead of using brute force to stop him, if only he was strong enough to defeat Dark by himself...

The guilt must have been like a dull, hot knife slicing through his soul. If he warm up to Second, would it not be a betrayal to his best friend? So although he liked the kid, he couldn't allow himself to form a bond with them.

I could imagine Second being so excited to have an older sibling and was ready to welcome Chosen into the gang, but Chosen kept avoiding them like a plague, leaving them confused and disappointed. After several attempts they finally gave up and admitted that maybe Chosen didn't want a sibling like they do.

This situation continued until AVA Ep.9 "Wanted", where a desperate Chosen broke into Alan's PC asking Second for help for the first time since Showdown. That's why Second and the rest of the gang looked so unprepared for this whole situation, because they were already used to Chosen's avoidance.

Hopefully in AVA season 3 we could see more of Second and Chosen's interactions, Chosen could finally overcome his guilt and grief, forming a strong bond with Second and getting some healing as well.

[mayapapaya33]

I'm rewatching Exu: Calamity and I think they made a mistake with the name. The real title should be Exu: Actually, Vasselheim has good reasons for how it operates, even if they're dicks about it sometimes. Maybe it was too long, so they went with the snappier CALAMITY! Instead lol.

The end of the Calamity was only 840 something years ago. With Elves and dragons running around, some of them are definitely old enough where, if they didn't live during the Age of Arcanum themselves, their parents or grandparents would have and they would have been told a thousand stories of the fuck heads in flying cities who destroyed the world and were super annoying and dangerous long before they did that. Many more would be born during the latter part of the Calamity or raised by people who survived the Calamity who passes on those stories. Depending on the race we are talking anywhere from direct witnesses (Like the Bright Queen and Ludinus) to like 2-5 generations removed. Even humans with our short lifespans, it's really not THAT long, especially if you've got a bunch of old ass elves around teaching history class from a first person pov for like 500 years lol.

Intellectually people know that Critical Role, the world of Exandria is a post apocalypse story. Exandria is a scarred landscape that is just beginning to bounce back from the brink. But because it is recovering, it's easy to forget sometimes that it IS POST APOCALYPTIC. So people looking at Vasselheim in the modern day are like, 'bro, you really need to chill, everything's fine.' And Vasselheim is like... 'Chill? I do not understand the meaning of this word. And everything is fine... for now. We will be a bastion of civilization when the end times come once more. Fare thee well traveler.'

Then everyone rolls their eyes and moves on with their day. But if you really think about Vasselheim's isolationism and strength and distain for arcane magic in historical context, you can't really blame them. Are they over the top about their dislike of arcane magic? Sure. Is it quite possibly the most understandable over reaction in the history of over reactions? Also yes! They haven't made it illegal, they are just going to keep an eye on you, so you don't pull a Vespin Chloras and doom the planet to another few centuries of choked skies and sundered landscapes, that's all. Vespin was IN Vasselheim! Of COURSE they have strong feelings about it. The (Almost) End of the World began in Vasselheim due to arcane magic. If they had been stricter, maybe it wouldn't have happened at all!

And it really does paint their actions in Campaign 1 in a different light as well. Their isolationism can come across as shortsighted and selfish, until you view it from their point of view. Which is that they are constantly under threat, they know for a fact that Asmodeus wants their city destroyed, they are a bastion for the Prime Deities in a world filled with many heathens (lol that's where the dickishness comes in) and the Betrayer Gods would take any sign of weakness in their defenses and attack with glee. Hearing it in C1 it sounds like an excuse not to help against the Chroma Conclave, but it is literally just the truth from what I can tell. In BOTH Calamity and Downfall they have mentioned destroying Vasselheim being on the Betrayer God's to do list lol. If I was on a Betrayer God's to do list specifically, by name, I too would be somewhat paranoid and would not really want to disarm any portion of the city to go do something else. No matter how important the something else might be.

Vasselheim was basically like; Look, I'm very sorry to hear about your Dragon problem, that sucks, truly, but if we go out all willy nilly and leave this city undefended, it'll be fucked when we get back. When you have a real plan, come back and get us and we'll join you for the big fight. Until then, it's up to you, here you can have Kima as well, she's been desperate to get out of here anyway, and here's some supplies. We have larger concerns than one continent being attacked by four ancient Dragons. We are the seed bank for civilization for when shit inevitably hits the fan. We are the doomsday bunker for the Apocalypse, four Ancient Dragons are terrible, but they are not the Apocalypse. And they are right. Looking at it all in context, The Chroma Conclave are small potatoes. Horrific, monstrous, life destroying, but compared to the threat Vasselheim is preparing for, nothing.

They are the doomsday preppers of Exandria, except the threat is real and they are only letting their collective trauma and ptsd inform their decisions a little bit. They are actually fairly rational all things considered. This city withstood the entire Calamity. The stewards of the city must feel an enormous weight and responsibility to keep it safe going into the future. Imagine the pressure. Are you going to be the one to fuck it all up, after thousands of years? Sounds like a nightmare to me. The level of devotion and conviction required to keep something like that going is incredible.

[livwritesstuff]

I've had a consistent thought in my head of the girls learning more about the upside down.

Like they know a bit: uncle Dustin still lives in Hawkins doing research on something, they've seen their dads and they know about the scars and their disabilities. They know something happened to their entire family and they know there was an earthquake that wasn't really an earthquake. But they've never learned more than that and they'll never know the details as long as Steve and Eddie have a say.

But at some point, each of them realizes that the monster hunter jokes that their dads make aren't really jokes.

In general, I think Steve and Eddie’s sentiment surrounding how they address the not-so-pleasant aspects of their past with their daughters is that they won’t lie (because that’ll only come back to bite them in the ass later), but they’re also only going to tell them as much of the truth as they literally need to.

Not that Moe knows any of this.

All Moe really knows is that her dads went through some scary-ass shit when they were her age and they don’t really talk about it.

Still, Moe has eyes. Maybe she didn’t realize it when she was little, but even just the sheer amount of scar tissue her dads have isn’t exactly normal. When she asks where they got them, though, all they ever say is that a monster tried to eat them.

Moe also knows that the reason Pop doesn’t usually join them on shopping trips at the mall is because they can trigger bad migraines, and she knows the reason he gets migraines in the first place is that he’d taken too many hits to the head in too short a time, but when she asks how he’d gotten a concussion and then a TBI and then two more concussions in the span of four years he always just says something like picked a fight with the wrong Russian spy, or something like that.

And it’s public knowledge that Dad was accused of murder when he was in high school and nearly died before the charges got dropped, but when she asks about what happened, he gives her some spiel about curses and demons and portals to alternate dimensions and monsters (again, with the monsters).

They’re kidding, Moe knows. They’re giving obviously fake answers because…well, for a lot of reasons, she can imagine– not wanting to relive whatever actually happened, not wanting to put their own trauma onto Moe and her sisters.

Honestly, Moe doesn’t really even bother asking about it anymore because they clearly don’t want to talk about it, and if it really was that bad, she can’t even blame them. Besides, she’s pretty sure that dads are supposed to be total mysteries to their kids, so���whatever.

The story of what happened in Hawkins, Indiana starts to gain some public attention again while Moe is in high school – one of those true crime conspiracy theory-type stories people make Reddit threads and YouTube videos about, and apparently (because Moe has no interest, but Robbie likes that kind of stuff) Dad almost always comes up in them, Pop sometimes.

Around that time is when Moe’s dads start to get all kinds of media requests – not that Pop had any idea. He’s basically chronically offline, so no one is really able to track him down other than finding his work email on Psychology Today, but he’s got filters set up to send that shit to spam so he doesn’t even have to see it. Dad, on the other hand, is (supposedly) well-known for his books or whatever, so he doesn’t have the same kind of anonymity. He got all sorts of calls and emails from people wanting his first-hand account, but he always refused to participate, told them to lose his number and never contact him or his family ever again.

That’s the kind of thing that really rattled Pop – Moe didn’t like that. He’s kind of an immovable object in that way, so seeing him rattled just seemed wrong.

They’d even needed to threaten legal action against one online tabloid who just wouldn’t leave them alone – not that Moe is supposed to know about that, but she’d eavesdropped on a phone call between her dads and Uncle Dustin, who seems to exist as a central point in it all even if Moe doesn’t know why (maybe it has something to do with how her dads always complaining about how he still works for that lab, whatever that means).

“Are you ever gonna tell us what really happened?” Moe asks one day, when it’s just her and Pop in the car on their way home from a basketball tournament in Connecticut.

He sighed, not taking his eyes off the road.

“Hon, can I ask you to stop and consider that maybe we have been?”

And for her dad’s sake, she does, she makes herself run through the mental log of all the lore or whatever she’s unlocked over the years.

Monsters, Russian spies, superpowers, demon-animals, curses, portals to alternate realities, government corruption, evil scientists.

Bullshit, she’d always thought, but…her dad had never bullshitted her before. Why would he choose to start with this?

Moe looked back at him, some kind of question on the tip of her tongue even though she had no idea what to ask, and this time, Pop spared a glance back.

“I’m not telling you everything,” he warned her as he looked back at the highway stretching out endlessly ahead of them, and Moe tried to keep any signs of disappointment off her face, “But I’ll tell you some.”

[schlong2]

latest fix rant time

none of my friends want to talk to me about monkey movies and then i remembered i have a whole blog dedicated to my latest fixations so. i've watched Kingdom of the Planet of the Apes two (TWICE ✌️) times in theaters. this was after watching the newer trilogy (Rise, Dawn & War) and the first 1968 original in prep.

things (SPOILERS!!!):

Kingdom's run time is 2 hours and 25 minutes. this is incredibly long for a movie. compared to 1968's 1 hour and 52 minutes, that's a half hour difference. Infinity War was 2 hours and 36 minutes for reference. that's a whole marvel cinematic convergence, but ape. the run time isn't exactly the issue i've seen talked about. it's the pacing. sitting twice through this movie was not a problem for me. i sat there engaged all the way through. on the second watch, i tried to be mindful of times in which it might have been dragging for the average person, and i like, literally couldn't find any. pretty much every scene had meaning and didn't drag imo. which is something these newer movies do extremely well. Kingdom is pretty equally split between verbal communication and sign language compared to the first three before it. the apes use both verbal and visual cues to talk. but because they don't talk every single time, it makes every moment that they do feel special. it reminds me of the Quiet Place concept, where most of the movie you only hear a human voice a few select times when it's safe to do so. Rise, Dawn, & War were kind of like this, as Caesar only really spoke when he was trying to make a point or communicating to humans, who are mostly speaking in those movies. he speaks more as he gets more fluent, and by War, he can speak very well. we see other apes like Koba, Maurice, Blue Eyes, and Bad Ape also speak English. these moments are rationed pretty well throughout Kingdom, making the dialog more select and meaningful. this makes every time these beasts talk feel like it means something and isn't just fluff to fill your ears. every other scene feels like it's building or showing a side of a character we hadn't seen before, and the scenes between those advance the plot or are like, really action-packed. i just don't see why some people say it has pacing problems. it's just long. i understand the average person's attention span is super short, but when you're sitting down to watch two and a half hours of movie, you gotta know there's gonna be downtime. moments where they're not fighting or advancing the plot. and i think that's GOOD man. but im also not one for action/adventures very much so maybe that's it? i think a lot of people maybe watch these apes for the violence and conflict rather than their introspection, genuinely thoughtful world building, and complex characters. and hey, that's completely fine to enjoy, but POTA is originally about morals and asking the audience questions and posing dilemmas to popular beliefs at the time. ok

Raka. he's great. Peter Macon has this butter smooth voice that's just perfect for the kind of character he plays. you can't help but like him. but he dies like 1/3 into the movie and is really only there to religion dump about Caesar (ape jesus) and then he's swept away. people are complaining that that's all he was really there for. to explain the real values of Caesar and provide a foil to Proximus. and i agree to some degree. i really hope he's not actually dead. his presence and death are felt throughout the movie, as both Mae and Noa (mostly Noa vocalizes it, Mae just silently shares in his loss and i think cries at one point?) seem to mourn him, saying shit like "if Raka were here..." and especially at the end when Noa gives the Caesar pendant to her. it's the shared memory of Raka and what he devoted his life to. but they never really like, actually linger on his death. there's a moment after he's swept away, and the shot stays on the rushing waters, Raka no longer visible and plays some sad tunes, but like. C'MON. he's not really dead. he isn't please tell me he isn't PLEASE

Noa isn't Caesar. i honestly do not get why you would want otherwise. of course, he isn't Caesar. we don't need another Caesar. he had a whole three movies to be the center of. i would be extremely disappointed if they just made a carbon copy of him or made Noa like a direct descendant of him or whatever. i hate that Chosen One bullshit. Caesar was just a guy that wanted peace for his people and that got him killed in the end. Noa is also a guy who wants peace for his clan. they're both leaders and have good hearts, but like. they're different characters. i LIKE that Noa has no relation to Caesar, i LIKE that he's his own character with his own ideals and purpose. Owen Teague does a wonderful job making the character his own. i mean Andy Serkis is Andy fucking Serkis. pretty big shoes to fill and i think Teague has the right foot size you know. i heard one guy say like "we've had our time to mourn Caesar" and yeah. we have. let's accept that and move on

WHERE MY APE DIVERSITY AT. we get a fuck ton of chimps, ONE orangutan, ONE gorilla, and ONE bonobo. what the hell. i mean. what is with the bonobo villian. Koba i fucks with because bonobos are some of the most playful, nonviolent apes out there. that humanity and its cruelty could twist a naturally peaceful creature into what Koba became.. i mean, that's great. but again with Proximus? maybe trying to evoke some of the same energy and nuance Koba had? ALSO. GORILLA PSA they are like so sweet. all that muscle is there to protect their families, and they're strictly vegetarians. i feel like Rise, Dawn, & War portrayed this better with most of the gorillas getting bodyguard jobs because of all their bulk. especially when Luca tucks that flower in Nova's ear. man. and Red going out like he did. gentle giants. in Kindgom we just have Sylva. gorilla henchman for Proximus. that's it. then we have Raka, the one orangutan character that i saw. wise and knowledgeable, guides and accompanies Noa and Mae then dies. at least we get one female chimp character that's more than just wife or mother. wikipedia lists Soona as Noa's love interest, which i can totally dig, like it's there. he takes her to the telescope at the end of Kingdom, which is more than what we saw romance-wise between Caesar and Cornelia. and the only other important chimp female is Dar, Noa's mom. in Rise, Dawn & War there was usually only one of each species of ape assigned a main role, but we saw much more diversity it felt like. maybe that's because there were smaller in numbers and have since spread out in the last 300 years? also like, bonobos are known for having female-female & male-male sex. dont know about the other apes. my friend mentioned that Raka said something about having a male companion and promptly searched reddit. all they had to say was: gaype?

the visuals. dear god the visuals. this movie is just visually stunning. absolutely breathtaking. they did a great job. i mean Rise, Dawn, & War are all triumphs of cgi and are excellent examples of the animation style done right. i did hear some guy say there is a loss of texture, as mostly everything in Kingdom is cgi, from the characters to the landscapes. but there's an explosion of texture in this film. there's one point where Noa is covered in the ash of his village and you can see it on his fur. there's quite a couple water scenes where the moisture clings to the apes' fur. It's all very impressive. great work

the references!! Rise especially has a ton of them (IT'S A MADHOUSE!!! & GET YOUR STINKIN PAWS OFF ME YOU DAMN DIRTY APE), and names like Nova and Cornelius, but Kingdom... i picked up on at least three main instances, but im sure there are more. there's the scene where the apes are rounding up the feral humans, and its very reminiscent of the scene from 1968 where they're doing the same thing for sport. there's the scene where Mae is running in the field, and she jumps on that log structure to get to Noa, which is nearly identical to a similar scene in 1968. the scene when Noa, Soona, and Anaya are exploring the human bunker and they come across an old classroom. one of them picks up a doll that says a distorted "Mama" which was huge in the original because that was evidence that once man did speak, why else would he make a doll that talked? superb call backs to the og. respect what was there before

SCHLONG THEORY

here me out guys. the starring ape-human relationship in Rise was between Caesar and Will. this type of love is called storge and describes the love a child has for a parent as well as the love a parent has for their child.

the starring ape-human relationship in Dawn was ultimately between Caesar and Malcolm. which i believe is truly philia towards the end, the love between friends and allies. just two dudes trying to keep peace in the world.

in War, i mean Caesar well and truly hates the Colonel. like more than he's hated any human in his life before. close to mania, obsession. anyways it's a study on this type of relationship between an ape and a human. true, all consuming hate.

SO in the newer movies we've explored familial love, platonic love, and hate, between an ape and a human.

in Kingdom the main ape-human relationship is between Noa and Mae. and their relationship is complex. not really that friendly and certainly not familial. no trust. some kind of begrudging respect maybe? i just think it would be neat if in further installments they explored a romantic love between a human and an ape. ok.

i KNOW Noa and Soona are probably going to get ape married and they're never going to touch on the subject but i just find it hard to believe that in the last 300 years or so that's NEVER been heard of. apes have the same level of intimacy between each other as humans do in this universe and can willingly consent. what are you so afraid of wes ball

after all, the whole franchise is about how apes, when given intelligence, compare to humans and begs the question: how different are we really?

is it possible for an ape and a human to fall in love?

[tinfoil-jones]

Gravity Falls: For Your Own Good, Ch. 6

Summary: A few years after moving to Gravity Falls and having his lab built, Stanford Pines happens upon his estranged twin brother, Stanley. He mentally prepared himself to be suffocated by his brothers neediness all over again - what he wasn't prepared for was Stanley walking right past him like he didn't even notice him.

Rating: M for language, violence, and adult implications

Preface: Dialogue only, but some actions will be annotated for clarity. Cross-Posted on AO3 Here

First - Prev - Next

CH.6

“Good evening, Stanley.”

“...”

“I can see in lieu of speaking, you have instead chosen to communicate with an obscene hand gesture- two obscene hand gestures. I'll excuse your immaturity because I understand you might be feeling… upset.”

“Upset? Me? What could I possibly be upset about?”

“I understand your current state of… lodging is making you apprehensive. On account of being involuntarily committed.”

“You not picking up sarcasm doesn’t surprise me. And this isn’t an involuntary commitment; this is an unlawful abduction and confinement. I have enough experience with both to know the difference.”

“You what?”

“Ask me whatever stupid questions you’re about to ask, but I refuse to stand up. This is literally the first bed I’ve had since prison; and in that bed I had to worry about bed bugs, dirty needles, poisonous snakes… and Jorge.”

“What was that last thing that you just whispered to yourself?”

“Don’t worry about it. Now, what do you want, Doc? You here to scan me again? Get me to take more drugs? Ask me weirdly personal questions like your hot friend?”

“I want to talk. I may have come on a little strong when we crossed paths in town, in order for you to truly understand where I’m coming from, I’m going to have to give you some context in place of your lost memory.”

“Please tell me you’re not about to give me the tragic backstory of you and your missing twin.”

“Listen, Stanley, you don’t remember this; but we had a falling out ten years ago.”

“Aaand you’re doing it. Yeah, that’s pretty much what I was expecting. Fine, I’ll play along.”

“We were in our senior year of high school. You ruined a project of mine, and it cost me my dream college. We had a fight, and you got- you left home after that.”

“Man, dunno why I’d do something like that.”

“You were scared of me leaving you.”

“Did a shitty thing, and ended up alone anyways. That's something I'd expect from me.”

“And then you tried to justify it and say there was a silver lining-.”

“I’m sorry.”

“...What?”

“I’m sorry. You didn’t deserve that.”

“... Where’s your excuse?”

“Hm?”

“Your excuses- your reasons? You cannot just apologize- so casually.”

“Sure I can. I just did. You don't accept it, that’s your right."

“...You don’t mean that.”

“Naw, I’m pretty sure no one deserves to be betrayed. I’m sorry you were.”

“Saying sorry doesn’t make it okay.”

“Didn’t say it did. Nothing can- it’s already happened, and there’s no changing it. You don’t wanna forgive and forget? I won’t make you.”

“And you’re going to simply… move on?”

“Look, PhD, I can’t tell you why your real twin did what he did, or what was going through his head when he did it. But he did the wrong thing to the wrong person, and paid for it. It’s too bad you had to pay for it too.”

“You are-.”

“Can see why you’d get us mixed up though. All I do is ruin things, too. Maybe if that thing with your project hadn’t happened, you wouldn’t be a wackjob who carries a tranq gun with him everywhere and abducts people off of the street.”

“I’m not mixing anything up. You are exactly who I keep trying to tell you that you are. You’re just not you right now.”

“I’m never anybody but me. You feel better now? Get all of that out of your system?”

“Now that I have told you what separated us-.”

“I’m gonna take that as a no.”

“Can you fill me in on the years that followed?”

“Doc, a lot of what I remember is like smoke - it’s hazy, and it’s hard to hold onto, can you be specific?”

“How about we start with something tangible?”

“Like what?”

“I am going to slip a paper and a pen through the slot in the door. Write down a list of the people who’ve tried to kill you.”

“You sure?”

“Yes. You told my associate a number of alarming things during his interview with you, and he reported that a not insignificant number of those things revolved around people trying to kill you.”

“A lot of them still want me dead, you know. If they figured out where I was, they might raid this place. It’s not too late to just… let me go, and we can pretend none of this happened. I’m not gonna hold a grudge against you, it's clear to me you've got issues because your real twin is either dead or hiding in Cuba.”

“They can try. They’ll fail.”

"Gutsy. We coulda been friends if you weren't insane."

"...We were."

"If you say so."

To be continued...

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.

[theoddest1]

Okay so, ima type in what I typed to my friend here.

"Yeah Ima be so dead ass. ||Mel and Ekko carried the final for me, ESPECIALLY Ekko."

Yeah, they should have just kept [Viktor] being Ryze. That made more sense to me than whatever this is. And I am all for mlm rep, but yeah, this felt WAY too, Jayvikky. I liked it better that they were brothers to parallel Vander and Silco, who also found each other and became bros, but it seemed like they went with how popular JayVik was and stuck with it. And Jayce being strung with Viktor for wherever they went felt...kinda nonsensical. I'd rather that Viktor was thwarted and too far gone to then just suddenly have a change of heart and go with Jayce. I imagined that he would have a contingency where he, incase his body was destroyed, would then later rise again to try and enact "Glorious Evolution". It would go well with the themes of his beliefs anyway because every time he dies, he comes back stronger in a new body. I feel like that would better set the ongoing conflict and fit well with the game and why he looks the way he does currently.

I also don't like how quick he and Mel's reunion was considering how much he favored her along with his odd and sudden dislike for her decisions-- Seriously, where did that even come from!?"

[Thought it over further. Him calling her out on her actions isn't the issue. It's the timing and how this transpires that confuses me. He just came from a post-apocalyptic world where Mel, Viktor, and everything else came to mind. The lack of time for them to truly talk made the scene felt out of nowhere and not at all fleshed out. He goes on to place part of the blame on her when literally it wasn't. She DID manipulate but only politically. Everything else was on he and Viktor. Then, when he DOES confront Viktor, the vibes are different. Viktor hurt and caused a chain of events that led to several lives being taken to ensure survival and his "Glorious Evolution", why is this essentially overlooked? Maybe when I review this again, it will make more sense, but as of now, the way Jayce treats both Mel and Viktor is VERY questionable.]

"I would have been pretty happy if He at least gave her a hug, a kiss, something to make their relationship seem consistent with what we were shown. I know that he's been gone for a while and a lot more cold, but this was a very odd direction to go with. I am super happy about Cait and Mel fighting side by side and that Mel may be the main character for a new Noxus related show! [Which I knew they'd set up!] but this series, after seeing it in its entirety, DID suffer too much from the pacing issues. I assumed at the First Act that it was quick paced to go with how they've all been shifted into places they didn't see coming, but the pacing issues continued to bring down the quality. 3 seasons would have made way more sense and would go well with the 3 ACT formula they had used. I hope they learn from this and refrain from making similar mistakes.

[I responded to my friend who posted these images above] I knew they'd make a callback to this line eventually, and I am genuinely surprised people are not catching this obvious set up to Jinx living. Also, I am betting that Heimer did "die" but only that alternate version of himself. [Though obviously I could be wrong, though a life of various lifetimes where he helps each version of the main cast sounds very Heimerdinger of him, especially since he didn't wanna leave.]

The biggest letdown for me has to be Jayce and Viktor's story. It just...doesn't make sense with what we have been shown. Also, if Viktor KNOWS bad shit would happen when bringing Hextech to life and all, why TF would he give it to Jayce then???? Or if he STILL wanted magic to be tampered with shy doesn't he comvince himself in a way HE KNOWS would prevent what happens next, surely NOT EVERY timeline has it where you continue on the path of destruction! You see what I mean!?!? Leave the time crap to Ekko, man. This new inclusion makes no sense! And he does this in VARIOUS timeliness for some reason. Man, I wish it was just a random ass mage or Ryze, this added stuff kinda kills the finale for me🫠

I feel that making Viktor time travel ruins a huge aspect of the story, ngl, especially when Jayce argues that people can "craft their own path." The story also shouldn't have ended with what I could only assume both of them "dying" or traversing time instead. Also, the way Sky was treated and essentially replaced with Jayce feels....very very weeeeird."

[I believe that the ending just didn't land that well. I feel, now thinking over every character, Ekko, Mel, and Jinx carried this season HEAVY. These 3 were the most interesting parts of the season, honorable mention being Singed cause he be doing what he MUST. Also, what was the point of introducing Loris if all he was gonna end up being was a random guy who reminded Vi of Vander? I guess nothing is wrong with this, but when you're already stringing for time, these inclusions make no sense... I liked him, though, RIP Loris🤧. Oh, and Caut barely facing consequences is KINDA CRAZY but it goes with the themes of forgiveness/ acceptance. The Cycle would never end, after all, but yeah Vi and Cait made up WAY too fast and just shows that this needed another season. Let me know your thoughts!]

[rainba]

I'm literally in love with your OCS and I'm honestly a whore for lore sooo can you tell us a bit more bout their past? Or maybe just little snippets of their present day life! I'm so curious about them (*˘︶˘*).｡.:*♡

-🗝 anon

Help… I get so nervous about posting lore for my OCs because my brain’s first reaction is, “who cares?” 😭 Except……. I care…… And I’m really glad you asked! ( ´ ꒳ ` )

I’ll try not to say too much.... Even if it's tempting to ramble.......

Luka has always been more closed off and unemotional– he's been like that since birth. When he was little, he was often bullied by his peers, being called weird and even a bit creepy. His expressions were always unreadable, his eyes devoid of life.

In an attempt to stop being picked on, Luka would constantly practice facial expressions in the mirror late at night. He often wondered if he was broken.

As he grew older, the bullying only grew worse– and it only ever stopped when he finally stood up for himself and fought back, nearly killing another kid. It happened when he was around twelve years old.

Honestly, sending another person to the hospital actually boosted his reputation more than anything. Instead of being just some slightly off-putting, emotionless guy, he became somewhat 'cool.' He was rewarded for his actions.

People suddenly started talking to him; they wanted to know more about him. Luka took it as his chance to finally "fit into society." He participated in sports, learned how to communicate with people, and worked towards mastering the art of manipulation. ᕕ( ᐛ )ᕗ

However... Luka has only ever had one person in his life that he’d truly call a “friend.” (¯▿¯)

As for Kairos… He was often nothing more than a shadow. Constantly ignored, always left behind, never spoken to. Kairos often made friends with little bugs that he’d find, and he’d keep his mind occupied by drawing hundreds of little pictures in his notebooks.

Every time he tried to talk to someone, they’d just call him a freak, giving him weird looks before walking away. After a while, he just stopped trying all together, fighting really hard to be content with living a lonely life.

Kairos felt like a shadow even in the comfort of his own home. His parents never acknowledged him- the most he could ever get from them is a glance or a few words. That's it. It'd be rare if he ever got to see them at all. They would often either be at work or going out to places without him. (｡•́︿•̀｡)

Kairos has spent most of his life wondering why he was ever born.