#makes perfect sense for his character and is a good dialogue on what lines people are willing to cross

[ferryfoam]

I think about The Seige of AR-558 all the time. It's probably one of my absolute favourite ds9 episodes (along with In Purgatory's Shadow and By Inferno's Light which can not be topped) that one part where Julian is treating the wounds of one of the star fleet officers who've been essentially abandoned in this war zone and the officer is clearly so deeply traumatised by his experiences there is one of the most poignant moments in the entire show to me. The dialogue is so good and it really reminds you that this is an actual war theyre having, not just some flashy space battle where the good guys win and then everything is fine- it's had lasting impacts on these people who star fleet is meant to protect but really they send out a group of officers to a planet and then leave them there for months longer than they were supposed to be and so utterly do not care about these people because they see them as disposable. Even after Sisko and the ds9 crew realised how awful the conditions were everyone was expected to stay there - a position too important to the federation for them to let these people go home but not important enough for them to send backup or replacement officers (I though Quarks presence in the episode was really good as well for providing a perspective of someone not in StarFleet and a lot of the things he said about human nature and the actions of the federation really reflected how I was feeling about it as well haha)

Also the music was really good

(Edit if you want to hear more of my take on star fleet corruption I have put it in the tags)

[maxiwaxipads]

Romarriche - “Your company is one of a kind… I would never lie to you. I would never say a half-truth or be quiet.” “What is it in your mind, Merold?” “Hearing your voice, complaint or not—it is music to me either way.” Merold - “If there is one constant in this world… Let it be you.” “You’re the cruelest and the kindest thing that happened to me.” “…If only you continued to look at me like that.” Romarriche - “…Merold?” Merold - “But~ It’s only a minor case of bad-mood-itis.” “So Romarriche, spoil me with a spar, will you?” Romarriche - “Merold.” Romarriche - “Look at me.” Merold - “…” Romarriche - “Is something… Wrong?” Merold - “Instead of a spar…” “I might want to lie down on your lap after all.”

[jelloapocalypse]

Hi! I guess it’s ask time? Just wanted to say I think you’re one of the funniest people on YouTube; I have a playlist called ‘Emergency Funny’ and like half of it is just your videos.

I’m wondering, when you’re cold-reading a line, like in those streams of voice acting a video game while playing it, what are the small details, if any, that you look to to figure out how to read the line? I’m continually amazed how you manage to have near perfect delivery while never having read the line before. Sorry if this is worded confusingly I legit don’t know how to phrase it

This was sent months ago, but it's actually a very good question and talking about this might help people who like to voice games on stream get better at doing that.

For context, this is about our "fully-voiced" game playthroughs where we cold read an entire video game out loud.

One small thing I try to do that helps is pressing the "advance dialogue button" when the person speaking is about 65-70% of the way through their line. That way, if the next line is from the same character the actor has a chance to read it smoothly as though the lines were not separated at all.

If it turns out to be a different actor's line, this gives the new actor more time to skim the words as well as extra time for them to realize they're about to be speaking so they don't get caught off guard.

Doing this is actually kind of hard because every actor we work with reads at a different pace and the person actually playing the game has to keep that in mind. Oz, Vixen, Arim, and I can sight read most lines almost instantly. I've seen Oz and Vixen in particular read entire text boxes that were only onscreen for a couple frames. But, obviously, not everyone is that fast, so everyone gets different "advance the dialogue" speeds.

Ideally, if a game is well-written and the characters you're playing have a strong voice, you'll slowly fade into the character as you read them. You begin to feel the things they're saying rather than just reading words on a page. Once you hit that flow state, it becomes easier to process what they might logically say next. If you notice one of us make 2-3 errors in the span of just a few lines, it means we're probably not in that flow state.

Some games are also much easier to scan than others, usually because of their character poses.

A game like In Stars and Time has such incredible character portraits that you can usually tell the tone of the accompanying line within a few frames of a portrait change.

Loop (above) is an extremely suspicious and weird character, but voicing them was so much fun because I could always rely on the portraits and the font changes in the text to give me direction on how to play them accurately, even though I didn't actually know what their deal was until about halfway through our playthrough.

Coffee Talk also has very strong portraits that react in real time to the lines of dialogue. The framing can push characters smaller or larger in focus depending on how upset or meek they are, so it's very easy to react on sight and adjust accordingly.

Every time a game developer takes the time to painstakingly add portraits that match every single line, every time they add SFX to accentuate certain words, every time a font wiggles to tell you someone is speaking in a sing-songy way, that's all direction that the game's creators are giving you.

Another thing that helps is just media literacy. I think everyone on the channel is pretty good at that because, speaking frankly, I don't like hanging out with people who have bad media literacy, lmao.

The more media you consume, the easier it becomes to know how a story is going to go. Even a really well-written mystery usually has only 3-5 real options for an ending, and while you're reading games aloud it's a good practice to consider all of them equally so your reads make sense no matter what. You'll notice it's pretty rare something takes us entirely by surprise in a read-through.

Also, of note, it's much easier to notice specific foreshadowing and word choice in dialogue when you're reading it aloud as opposed to silently skimming.

A solid example is our fully-voiced playthrough of Trails From Zero, which actually happened on SurpriseRoundRPG a few years back and not my own Twitch or YouTube.

Minor spoilers, but the character above, Ernest, has some antagonistic interactions with your main party over the course of this game. He wants Ellie, the white-haired party member, to quit the police force (that's your group) and go back to working with him in the Mayor's office.

When Arim played this game solo he didn't really think much of this guy. However, when he played the game for us and we read it out loud, having lines like the one pictured above spoken aloud makes it kind of impossible not to notice that this man is a freak. Mo, his VA, ended up playing him as a manosphere incel weirdo because that's the vibe he was putting out, and, lo and behold, that's pretty much exactly the character he turned out to be.

There's a running theme on our channel where commenters are often surprised to see the game "play into our bits" and how we "accidentally predict things".

What's really happening is the reverse.

It's very, very rare that we decide to make up a bit from absolutely nothing. It's not a hard and fast rule, but I find we only make jokes and play up aspects of characters based on things that are already there. Hence that one time in Miles is a Robot when I said something awful and sexual as Ray Shields, Oz groaned, and I said "Hey man, I'll give him a different joke when the game gives me somethin' else to work with!" I didn't choose to make Ray awful and sexual all the time. That's just how he is, so that's the well we pulled bits from.

Because we only extrapolate from existing content and our "silly" versions of the characters onscreen are just exaggerated versions of what's really there, whenever the game gives us more info about them, the new stuff tends to be very in-line with the bits we've already been doing. It's not us being psychic. It's us being consistent!

It also helps that almost all the regulars on my channel have done professional voice work and have been doing some version of this for literally 10+ years. Practice makes perfect!

[jesncin]

The Potential of Asian Lois Lane: An extra addition

A bonus addition to my Asian Lois essay. I know Lois Chaudhari isn't technically a Lois since the premise of the comic she's from is where the Superman mythos is fictional and the characters in it happen to be named Clark/Lois etc. But since she's a Lois stand in and romantic partner to the Clark Kent of that story, I figured she deserves an honorable mention at least.

Here's where I position her in my Spectrum of Asian Lois Lane chart. And I'd like to talk about her!

Compared to American Alien, this Lois is actually specific and textually Indian in Superman: Secret Identity. Unlike American Alien Lois (that never specified what kind of Asian Lois was), she can't be replaced as a white woman because the text acknowledges her Indian identity (her name, lines of dialogue like this, etc.) hence she's not interchangeable with whiteness. So this take has that going for it.

Where Lois Chaudhari still falls behind Girl Taking Over (and what it shares in common with American Alien) is yet again a sense of missed opportunities narratively.

In Superman: Secret Identity, a man named Clark Kent from Picketsville suddenly has Superman's powers. After years of being made fun of for his namesake, he suddenly is what everyone has been making fun of him for- and as he lives through life he slowly understands why fictional!Superman is the way he is. It's a great story but where it misses the mark for me is its failure to recognize Superman as an immigrant. Secret Identity's Clark isn't an alien immigrant, or a human immigrant, and is instead ostracized because of his name. Government baddies want to do experiments on him so he has to hide from them too. But then he meets city girl Lois Chaudhari, and they connect because people keep teasing them for their names and Lois knows what it's like to keep secrets because she,,, committed a crime as a teen once.

"I guess we're both dangerous felons, then. Public menaces."

Being hunted by the government and being experimented on isn't really the same as being caught shoplifting.

It works well enough as a connection but to me is a huge missed opportunity to have an Indian American relate to your Superman stand-in as an immigrant. To connect on a deeper level other than "people make fun of us for sharing names with fictional characters". Later in the story, Clark and Lois have twin daughters who are visibly Indian. They too, have Superman's powers. While we're treated extensively to the narrative showing us why Clark would hide his powers from the government wishing to seek harm on him, we never get to see what Clark's daughters have to deal with on top of being visibly non-white.

Superman as an alien immigrant is an anecdote in this story. Because after all, that's not what a white American man from Picketsville would find relatable about him, is it? I have the same thing to say about Secret Identity that I did with American Alien: "Clark isn’t the only American Alien in American Alien, if you catch my drift."

I think this story is the perfect encapsulation of the limits of a white writer. One of my hottest takes on Superman is that the best and most holistic take on his character doesn't exist in the white imagination. Take a look once more at the Spectrum of Asian Lois Lanes chart that I made. All save for Girl Taking Over were headed by white men (MAWS may have Asian directors and writers on their team but ultimately its pitch and main ideas are the brain child of Jake Wyatt, a white man).

People have taken issue with me saying this and assume that I mean white people can't write a good Superman story, and no. That's not what I'm saying. I like Superman: Secret Identity. I even like American Alien. But it's been 80 years of predominantly white writers of all backgrounds getting the chance to write Superman- and already multiple attempts at an Asian Lois- and yet it took until Gene Yang (and artists Gurihiru) with Smashes the Klan and Sarah Kuhn (and artist Arielle Jovellanos) with Girl Taking Over that I felt Superman's themes as an immigrant finally took center stage and weren't just a mention or anecdote.

In no way do I want to imply that getting writers of color or Asian writers specifically will mean you'll be guaranteed a great Superman story. I'm against promoting the idea that diverse talent is infallible or tokenizing and essentializing them in such a way. What I am saying is that the best and most holistic story on Superman as an alien immigrant isn't even a goal in the white imagination. Immigrant Superman doesn't live in that mind. He doesn't pay rent there. He doesn't stop by to visit. And no, Superman creators Shuster and Siegel wouldn't have written that story either. Superman may have been the "Champion of the Oppressed" from another planet under their pen, but he would never have related to or have had immigrant solidarity with America's perpetual foreigners the way Smashes the Klan portrayed him as having. Superman's creators were too busy writing Slam Bradley to be able to write that kind of Superman.

The appeal of these cape characters for me, is the process of adaptation. Seeing them be handed off to someone else with different life experience. Seeing them bring a whole new perspective that surpasses even the creator's intentions on their character. That's what makes these characters rich and worthy of constant revisits. I just think that people of different backgrounds should be able to get as many chances as white men have with writing Superman and his cast of characters.

[metalichotchoco]

Robots and their voices

Get ready because this is a long one ;]

A lot of the time characters are defined by their voices but with ai/ robotic characters this works overtime since it’s usually the only outlet into their emotions or character. They can get away with being an off screen presence since they typically aren’t psychical in nature. For all purposes in most cases they are nothing but their voice

Like with Hal, the only way we receive information about this character in visual mediums is his voice. It’s soothing like a lullaby, careful with even tones,smooth.Prideful in the sense of confidence not arrogance. You can hear his ego at being a perfect machine but it’s not boastful there’s no smirk when he says that. It’s how he views himself. You can imagine Hal with a soft smile for most of the movie, trying not to alarm staff. Only at the end does his voice get small, when he pauses for more time than normal as if to take a breath you cannot hear and that he does not need.

Edgar is loud and brash when feeling intense emotion which is a lot. He’s screechy and almost awkward in tonality. When he’s in a better mood he’s still peppy and small sounding. A sense of confusion is what a lot of lines read as but once he looks it up or figures it out, he’s much lower and monotone. With the Cinderella dialogue it sounds like he’s reading the information straight off the website he found it from.hes hot and cold he’s immature. A pest more than a true menace, due to his “newness” he doesn’t talk down to the humans in the movie but he’s underhanded and petty, craving love and attention and begging to be heard. A lot of the time you can hear his voice sort of breaking. It’s probably an audio issue from the time the movie was made, a filter over the actors voice but it works incredibly well for him.

Glados and her lines ooze sarcasm. She talks down to you more like you’re a nuisance she has to deal with than an equal in any sense (until potato glad but she’s almost a completely different character,not quite though) you can hear the exact moment she lies to you directly, diegectically it’s as if she needs to find a loophole to lie to your face so there’s a slight disconnect. Glados has a very singsong voice, her pronunciation going into higher and lower registers to express emotion rather than actually putting in actual anger or happiness into the monotone. It does a good job of selling this robotic lady who doesn’t view you with any sort of respect until she has to in the second game.

Whealtey by comparison is very non robotic in his voice or manner which makes sense since he’s a personality core and none of the standard robotic traits like objectivity, rationality, intelligence or indifference are present in him specifically on purpose. He’s anxious but optimistic, he rambles to sound like he knows what he’s talking about but it makes it even more apparent he has zero clue what he’s doing. You can immediately tell he’s incompetent at his job from the second you first really talk to him and it makes him all the more endearing.his power trip doesn’t exactly change that either, just attempts to self aggrandize, look and feel important. He sounds “confident” but he talks to the point where you realize just how insecure and unsure he is about anything. The British accent is also weirdly enough feeding into his fake intellectualism since Americans tend to view people with said accent as smarter even if they aren’t saying anything particularly smart.

The narrator is what you’d get if you crossed glados and Whealtey’s attitudes to character voice work but that’s reductive to him and the Stanley parable in general. The whole game is predicated on whether or not you listen to him/ mess with him. It’s an interactive story in the most basic of descriptions. The narrator is literally trying to talk you through a story and gets more distressed and annoyed as the player tries to exert and wrestle control from him. When you think of a narrator this type of voice comes to mind, a British masculine monotone that ebbs and flows with the story. This whole game is a meta narrative so it’s a very smart choice for this to be the case. There’s no robotic tone to his voice because that’s not the point, he’s basically the only real character in the game which makes him feel more human than the actual human we control who cannot speak, only act. He’s the one that makes us feel anything about the game. More the most part the narrator conveys a self assured calm tone, a blank canvas to react to the players weird actions.

Last for today is am and oh boy is he a doozy. Mr Ellison really does his creation justice on how powerful his performance can be. Am in the game and radio drama are actually sort of different characters but it makes sense since in the game he’s literally playing a game with the survivors whereas in the radio drama we get closer to the actual book. For a lot of these characters, the protagonists tend to be silent or reclusive but for am to still be as dominant of a presence with 5 other speaking roles is a testament to the type of character he is. For game am, he sounds almost like a car salesman. He talks down to the survivors, even very obviously flirting with them. You can imagine the mile wide grin on his face when he pulls something. But he’s not exactly desperate, more just like he’s playing a sick little game. Am does things that not even the most human sounding ais do, blowing raspberrys, coughing, laughing, crying. His cadence even makes it feel as if he’s breathing even though you cannot hear it. He’s very intense and visceral. He can go from relaxed and playful to manic and deranged so naturally and it’s what makes him so scary. This computer is far far too human. Everything he does also reminds you that he cannot move or breathe, he cannot scream or cry but it’s clear that he should. The reality of what he is looms over this performance. For as sad as he gets, no tears will flow.his chest will not move because he does not have one.

[syndrossi]

resonant ch26 dvd commentary

That's right, it's a series now!

Favorite line:

“They will return soon enough,” he told the tiny dragons, feeling a kindred dismay that his sons had gone riding with someone other than him. “Until then, you must content yourselves with me.”

It's not my favorite chapter, and doesn't have any real bangers, but this was a fun little exchange. The mental image of Qelebrys and Shadow perched on Daemon's shoulders, all three of them wearing a glum/pouting expression, is very cute.

Favorite detail:

Carrying the theme that Daemon noticed when he took Rhaegar and Jon on Caraxes to and from the Giant's Toe, where Rhaegar is drawn to the beauty of the world when he's up high on a dragon, while Jon is looking at those ships below and pondering their significance. It's just as much reflective of their life experience as personality. Jon without the burdens he carries of having been a leader, responsible for administering multiple wars, might be able to afford to look upward or forward, rather than downward at the world encroaching in.

Favorite dynamic:

We had a few barbs traded with Cole, but it was fairly tame. Rhaenys and Daemon are my favorite dynamic again, in part because I enjoy writing people giving advice that makes sense to them but isn't necessarily the most healthy. No one character is an infinite font of wisdom, existing to dispense it to our heroes. Everyone has their own faults, flaws, self-interest, etc, and their advice is colored by it.

I'm talking, of course, about Rhaenys basically telling Daemon to suck it up, give up on having a good relationship with his brother founded on mutual understanding, and resign himself to the fact that his brother prefers a version of Daemon that isn't real, with all the edges filed off. Daemon does in fact know his brother better than Rhaenys, so it's actually not the best advice in this situation!

But it doesn't mean he didn't need to hear some version of "suck it up and figure out an approach," because he's been reactive/passive so far with Viserys. (Some of that is out of fear, to be fair.) But he can't afford to be afraid/not take risks, Rhaenys believes. Not with so much at stake.

(Rhaenys is not without her own self-interest, either.)

And Rhaenys has a better grasp on Otto than Daemon. She's not wrong about what he fears. So that was also good context for Daemon, if he pays it heed. But the conversation doesn't leave Daemon in a great place at the end, sadly.

"Quick" hitters:

I mentioned this before, but there were three separate scenes written for and removed from this chapter, including one that was up in the draft I saved on AO3 and then removed this morning before I posted it.

I think I figured out my real issue with this chapter, and it comes down to using the wrong lens during the Dragonpit parts. We're focused in tightly on Daemon and Rhaenys's conversation, which is fine/fair, but we pull back too much for the kids and hatchlings interactions. It would have been nice to perhaps get the actual introduction of the dragons as dialogue rather than exposition, and focus in a bit more on Jon during the final naming.

The chapter feels very self-indulgent and filler-y, which may be while I feel guilty about writing it. Not that you can't write those things, but I always feel like they fit better in side-stories.

Jon naming Shadow was added into this chapter after the fact. I'd decided on the name a while ago and kept trying to find the perfect moment for it, only for it to not really materialize. Jon making it a game the baby cousins could join in on ended up feeling right.

I kept going back and forth between the Valyrian and Common versions of "Shadow," but at the end of the day, Jon has a theme.

I really liked Harrenkos for a name ("suitably long" in Valyrian), given that Shadow is a longer boi than most.

With Laenor and Rhaenys about to be gone, and Rhaenyra in Dragonstone, the poor Velaryon boys are about to be on their own (with their nurses) for a while, poor lambs. We'll see if Daemon invites them over for supper a few times. That's a lot of kids to wrangle by himself!

I'd been holding onto this, but I don't think it's something I'll end up doing later on in the story, so I'll go ahead and share one of the deleted, incomplete scenes. Originally, there was going to be an attack on the carriage on the way back, but Daemon being up in the air on Caraxes made it a really poor choice on the part of their attackers (and the attack itself a little too obvious not to have the place swarmed with Goldcloaks), so I scrapped it.

Apologies to Rhaegar, who was going to get a hero moment and possibly his first kill (though I didn't get that far).

x~x~x

The hatchlings were exhausted after their exciting day, each settling on their laps to nap for the carriage ride back to the Red Keep. Jace soon followed their example, nodding off against Princess Rhaenys’s side twice before she rearranged him so that he could rest his head on her lap.

Jon had enjoyed their day out, but he did feel a sting of regret at not being able to accomplish either of the things he had wanted to today: gaining an audience with King Viserys, and speaking to their father about the candle. There was always tonight for the latter—or tomorrow. But he hated the thought of it continuing its efforts to torment Rhaegar, especially since they were now separated in the afternoon.

“Did you hear anything today?” he whispered to Rhaegar.

“Not in the yard,” his brother said, which was not a no.

The bumpiness of the ride down the sloped path leading from the Dragonpit gave way to the cobblestone of the Street of the Sisters. The sun had set, and the sky was halfway to twilight, leaving the interior of the carriage dark. Jon tuned his senses to hearing to distract from the unpleasant odor of Flea Bottom, which the street passed through briefly.

It was quieter than he remembered. Even the slums of King’s Landing had their equivalent of markets, and plenty of peddlers hawking their wares. He sat up straighter in his seat as the carriage slowed, and the strong scent of burning wood wafted through the window. He could hear the low murmur of their two Kingsguard ahead of the horses.

Jon glanced at Rhaegar, who met his gaze with a tense frown as their hatchlings stirred on their laps. Princess Rhaenys meanwhile was gently shaking Jace awake, turning to glance behind at the window. A glow was visible now, lighting up the area, and calls began to ring out from further away. Jon stood on his seat to get a better view; up ahead, he could see buildings aflame on either side of the street, and what looked to have once been a wagon burning in their path.

“Can we go around?” Jon heard Ser Erryk—or Arryk—say in a low tone to the carriage driver.

“Only if you fancy going deeper into Flea Bottom,” the man said.

“Turn back,” the Kingsguard ordered. “We will return to the Dragonpit.”

Smoke was beginning to drift through the window, stinging his eyes, and the shouts were growing louder. Jon reached carefully for his knife, which was strapped against his leg beneath his pants, though he did not yet slide it free. It was possible that whatever fire had broken out along their path was entirely accidental, but if so, it was extraordinarily convenient timing.

The clack of horseshoes on cobblestone was just audible over the din as one of the Kingsguard pulled alongside them. “My princess, remain within. We will turn and head back to the Dragonpit until the fires are put out.”

The tension in the knight’s voice told Jon that he too believed it to be no coincidence. The street was still narrow at this point, which meant two very long minutes of horse and carriage maneuvering to turn back north.

Too long.

The horrible scream of a wounded horse pierced through the din, and through the haze of the smoke still spilling in through the window, Jon could make out the shaft of an arrow embedded in its flank. Two clanking noises followed, the noise familiar to Jon—the clatter arrows deflected by a shield.

“Ser Erryk,” Princess Rhaenys called out tensely, holding Jace tightly to her side. Their young cousin was wide awake now, eyes large with fear.

There came another two loud thuds, this time above them, and Jon could see the point of an arrow splitting through the wood of the roof, and another a foot away from it.

“They are trying to set the carriage aflame, princess,” the knight said. By the sounds of it, he had drawn up along the side of the carriage opposite from where the first two arrows had come. “You and the children may need to leave it, if the fire catches.”

Jon could hear the agony of indecision in his voice. The carriage afforded protection from arrows, but the longer they remained within, the longer whoever was attacking it could get into position for—whatever it was they were after.

Us? Jon wondered. So far, none of the arrows had been aimed at the body of the carriage, but even so, he dragged Rhaegar several inches further from the wall. The other Cargyll brother joined his twin on the safe side of the carriage.

“There are at least four with bows,” he said. “They do not yet approach.”

The horse’s screams were quieting, which Jon knew meant another obstruction on the road. The smoke was growing thicker, enough to make Jace cough, and a glance upward revealed a darkening of the wood of the roof.

“Jon.” Rhaegar’s voice was low but urgent, his face set with tension. He extended a hand toward Jon. “Give me the knife.”

His first instinct was to deny the request, the notion of being unarmed in the chaos nearly unthinkable, but his arm was still injured. Rhaegar might lack Jon’s experience in a real melee, but he stood a better chance of defending them.

[end scene]

[exaltedfuzz]

Goddammit, your last lanamia comic made me cry.. What master storytelling spirits are you channeling that make you know these characters better than the original writers?

Deepest apologies... I have worse planned. Poor Mia. (and Lana... but you'll see why I say poor Mia soon enough, I hope...)

As for writing characters, it really helps to talk to yourself in their "voices" to try and figure them out. Mumble to yourself when you're cooking, when you're walking and nobody's around, but also listen to people speak. When you put what you know into dialogue it sounds way less phony than if you're purely trying to advance plot with ham-fisted exposition... Though you need a bit of that too, if you're trying to drive something. It's good to write stuff down in a script, get a recording app out, say it all (put on a different voice for each character, why not?) and when you stumble over the sentences because they suck to say out loud, rewrite them so they don't. Your most powerful tool in writing speech is speaking. 

Think about the context too, it's dead important. Surrounding events and characters are what keep things grounded... Nothing exists in a vacuum. It's really useful that AA has such a packed world, with so many characters in proximity. Makes it easier to de-vacuum things. I guess the same is true for most fan works. 

Having a start and end point really helps. But, more so in a sense of "where is this character at the start of this scene, and what do they want to achieve". When you're writing "aspirationally" like this, you can get into the groove better than if you have a point A and a point B that you are looking to get to overall. And then considering the dynamics between the characters and taking that into account when understanding how those goals may be compromised, ignored, pushed for... Who has the most power in a scene generally decides what goal is pushed towards. 

Another thing is focalised narrative. Usually when I'm doing these comics (at the moment), I follow Lana, and most of the emotional core is in her reactions to things. You don't want to zero in too much to one character, or you'll end up flattening the rest, but having a core character is a good way to keep things simple. It's tempting to just chuck as many characters as you can into something, but you have to remember that you're then going to have to have them all exist... 

Also, honestly, going back to the source text plenty, and with an eye for specifics, is really useful. Take note of how characters refer to each other, which is a huge thing in AA specifically... And also what humanity is in them. For Lana, for instance, she's quite witty, and quick to make light of herself with that wittiness. ("Oh, this? I cut myself by accident. When I stabbed him, that is. I'm not very good at being a criminal, I suppose.") I try to put this slightly irritating joking into how I write her. With Ace Attorney characters, you're looking at them at very intense points in their "lives", so they're probably acting differently to normal, but picking up on these little things can make all the difference. Obviously, as well, there’s the “that… was probably why she was attracted to me” line. I take this as a reluctance to publicly acknowledge the mutuality of said attraction… (“Intellectually” seems like a Lana-ism to deflect that Ema picked up, to me. Lana doesn’t seem to be very comfortable with who she is in general. She wears her King of Prosecutors medals when Edgeworth seems to think the award is tacky, and even Manfred, obsessed with achievement and perfection, and apparently winner of multiple King awards, doesn’t display his medals. Obviously this is because when they were designed, it was before the idea of King of Prosecutors existed, but I think that Lana pinning her achievements to her chest where they can clearly be seen in order to convince to both those around her and, more pressingly, to herself, that she is competent is interesting.) Her own goals also always come second to Ema. I think she’s probably felt quite suffocated by having to spend her whole adulthood so far being a mother to her.I have a lot of thoughts on her as a character, both in the context of lanamia and outwith. She’s very compelling to me, and although most of the time when I'm drawing her, it's the "used to be so gentle, always smiling" Lana that we never actually see in game, I want to push some of these key aspects of her in game identity into her, so I interpret that "gentleness" as a slight nervousness, and that "always smiling" as something mostly for Ema's sake, so she doesn't have to see her rock crumble, so to speak. Anyway, that's enough on her...

I don't know if you really wanted my dialogue writing tips, but anyway. There they are. I wrote way more than I meant to, so sorry about that, haha! Hope some of this could be useful.

I don't know that I know the characters better than their creators... I only hope I'm doing them and the stories I think they could have lived in justice. Thank you very much for the ask, haha!

[mylonelydreaming]

For me, Link being "unhealthily obsessed with Zelda and finding her to the point Ganondorf is a footnote" isn't something that I think is "bad" at all, but precisely what makes this version of him remotely interesting (to me) when Nintendo is otherwise so adamant about keeping him a stoic knight most of the time.

It adds a different layer to him, turns him from this perfect, bland stoic boy into someone who only outwardly appears that way, appears like he has everything together, but is in fact flawed inside and a little broken from what has happened to him. A little off. That makes him much more interesting to me. It gives him a major character flaw that can be exploited by his enemies, and what do you know, Ganondorf and the Yiga Clan do exactly that (they even remark on what good bait she makes).

I also find it interesting to think about when he became this way. Was it the years he spent with her in-between games? Was it well before that, when he was aimlessly chasing that "beautiful voice" even before he remembered who he was? Was it some point before the Calamity? Did he become a knight in the first place not merely to follow his father's footsteps, but to one day protect her? I find this compelling to think about. Is making a specific person your life's purpose unhealthy in real life? Yes. It's also very interesting in a story.

And also on that note, isn't him becoming at least a little too obsessed with her a completely natural thing to happen?

For me, if you take away Link's (yes, I'll admit, unhealthy although I kind of like that), obsession with Zelda, then all that is left is the exact ways that people who hate not only zelink but Link himself describe him as all the time: A robot who feels nothing but duty.

And sorry, but I just find that very boring. Dull. Unexciting. I also, then, can't see why on earth Zelda would have feelings for Link if she's just a duty to him and her acts of affection, like sewing him a new tunic, are never returned. Frankly, I think she deserves a lot better than that, to have her feelings reciprocated and a happy ending after all that she's been through.

And to be honest, why would any writer make her feelings unreciprocated when she's basically the main focus of these two games? How does that make any sense? I also doubt any professional game dev working on a deadline would waste precious time writing and coding dialogue about it into the games if it supposedly wasn't meant to mean anything? I honestly rather dislike people brushing off things like Kass's song, because it ignores that it was purposefully written by the game's creators to tell the player something. It not only feels disrespectful to whoever wrote it, but ignores an extremely common convention of video games. I don't think it's really very fair to call it "bad writing" simply because it delivers the information like a video game and not like other visual mediums would have. Video games have always demanded the player to read things, investigate and read between the lines. Especially so when they are more focused on gameplay, which is exactly where Nintendo's focus lies.

And when it comes to "it should have been more obviously shown", well, look how people complain even when it's subtle? If you're someone who hates it, why complain about the romance not being overly blatant? Isn't that good? I mean, clearly an even bigger fit about it would have been thrown if they had been even more obvious, so personally, I think that the way Nintendo went about it was perfectly fine.

[vasito-de-leche]

Hi! I read about your super cool Self Aware R1999 AU and it got me thinking about what Sonetto would be like, since I have a 100% bond with her in the suitcase.

Would she try to keep normalcy? Have a brand new idle line? Perhaps pull a Monika DDLC and start writing poetry where she tries to grapple with the fact that there’s an eldritch being puppeteering her best friend?

;R1999 SONETTO - Self-Aware AU

Headcanons about how Sonetto would act upon becoming self-aware. Related to this Self-Aware AU post.

glad you like the AU! this was a nice chance to explore Sonetto's character more <3

To organize my thoughts better, I gotta talk about Sonetto first for a bit.

I definitely talked about this with a few friends, but Sonetto is a wonderful character to me because I both dislike and feel for her a lot - especially in the new 1.4 Main Story update. The emphasis the game puts into her role as a military dog (raised to follow orders and die for a cause she doesn't truly understand) and a lost puppy (a curious and dependant child believing her caretakers have the best of intentions) really lives up to the way she portrays these same traits. Yes, it's awful to see her continue to perpetuate the harmful ideas the Foundation taught her, but it makes sense. Yes, it's lovely to see her slowly break away from everything she's ever known, and yet revert back to her habits because change is difficult. The way she works perfectly as a foil to Vertin, it's so good!

To me, Sonetto is a character that resists change, while yearning for it at the same time. That's why her Medium is curiosity, after all. It's so lovely and ironic to see THE perfect example of a Foundation martyr being set up for failure in something that they couldn't have even foreseen, her own Medium, her own innate curiosity.

So with this in mind, I think that within the Self-Aware AU ... I think she would be able to deal with this sudden awareness of everything being fake, because her first reaction would be to assume there's something wrong with herself for thinking something so outlandish, so beyond what she was taught. Sonetto would still resist this change - if this is a game, then she's not meant to be aware of it, therefore she's the one at fault and perhaps, broken in a way.

Maybe "broken" is too heavy of a word, I imagine it's more like she believes she broke the rules by gaining this level of sentience. That it' wasn't supposed to happen in the first place.

How would she act overall?

I feel like Sonetto would be relatively fine upon becoming sentient because of this, she'd be shaken but would continue to do as expected and follow the script like a proper little chess piece, one of the many cogs needed in the machine - her reasoning is simple: if everyone who is self-aware began to act out, there wouldn't be a game to play. And what would happen to her friends, then? If this stability that the plot and script brings is suddenly gone?

There would be times where she might slip up, but they'd be very subtle changes in the her dialogue - perhaps the inflection of her voice, rather than the words - she might pause for longer to think, to consider whether to do anything outside of what she's expected to. But that's about it.

The problem begins when she finds out (or is told) that the Foundation had known this truth about the world they live in for longer than she's been alive. Sonetto remains docile entirely to keep that order and harmony she's been raised to maintain, but to find out that the very people who taught her that have known and done nothing but lie to everyone - that would be the catalyst for her.

Personally, I like to think that this is something she figures out on her own, rather than being told. A truth she must face on her own instead of just accepting someone else's words.

Her behaviour would still largely remain the same whenever she knows she has a part to play, but in those moments when she knows there's no "camera" looking at her, Sonetto would... sit there. WIth the way I've interpreted Sonetto, she's a character that struggles to actually have an identity outside of the Foundation's training, so now that this is something she can't rely on, she's at a loss as to what to do with this newfound freedom.

I imagine this is when other arcanists who were self-aware before her would start reaching out to Sonetto and slowly give her that stability she needs.

On the subject of Sonetto's relationship with Vertin.

The way I interpreted Sonetto and Vertin's dynamic, I don't see them as best friends!

From reading back some scenes and transcribing most of CH 03 of the Main Story, it feels like both Sonetto and Vertin have always found themselves in a one-sided relationship: when they were kids, Sonetto rejected Vertin's attempts at becoming friends because of their differences, even if they were both curious about each other. They never striked me as close. Now that years have passed, Vertin treats Sonetto similar to how she treats everyone else, while Sonetto explicitly wants to be closer to Vertin due to what happened when they were kids.

To me, Vertin has shown more emotion to Schneider and Madam Z than to Sonetto. There's this one-sided dynamic again.

In the context of the AU, I think Sonetto finding out about what Vertin goes through with this entity and this role that the game forced upon her, she would double down on her feelings to protect Vertin. There's a lot of guilt involved, since - once again - that's what the Foundation teaches to all orphan arcanists, to repent for their unruly and destructive existence.

I think Sonetto would feel guilty for not gaining sentience sooner, while Vertin has been struggling with this heavy weight for God knows how long. She would recontextualize everything about Vertin, her actions and the differences that constantly got her into trouble as a child, her desire to escape - attributing all of it to this entity that follows her. Because I do think that Sonetto idolizes Vertin to a degree that fuels this one-sided dynamic between them, not out of malice of course, just like a puppy.

So in the end, Sonetto would resent the Player and worry even more for Vertin, now using this as a justification for acting out of line and out of script, as Vertin's self-imposed protector.

It would take Sonetto a looooooong time to do anything with her sentience and freedom, beyond continuing to support Vertin. Her poems and her art would reflect this progress slowly, but yeah, not a lot of noticeable changes.

Reaching 100% Bond with Sonetto.

This is a very conflicting event for Sonetto, I'd say.

The more attention you pay to her, the more aware she becomes of your influence - and now she has to come to terms with the fact that there is no way of separating you from Vertin. She can't free Vertin from this fate, and it doesn't look like she wants that to happen either, but it eats Sonetto from inside out. Because she doesn't understand, and she wants to know why this is the way things are meant to be.

When it comes to reaching 100% Bond with her, or levelling her up and so on, I don't think she'd pay much attention to the mechanical aspect of it all. She's a skilled arcanist, she's the first important character the game gives to you during the tutorial stages, she knows just how important her Disarm ability can be to win a battle - of course you would want her on your team.

But as she slowly spends more time with Vertin and the Player, I think Sonetto would start to wonder about the outside world. They're small, little and impulsive thoughts in the back of her mind, like wondering if you too have someone in this fictional little world that you care about enough to see the story through the end. Are you capable of loving someone that can't reach out to you nor acknowledge your presence? Isn't it cruel, for those who remain blind to the truth, to be so loved and cherished by you?

Do you read the newspaper the same way Vertin does? Do you care about her? About her goals and dreams and thoughts?

This is the only way Sonetto can reconcile this resentment she has for you: through Vertin. I think Vertin would eventually notice all these subtle changes, the way Sonetto never looks truly happy whenever she looks at Vertin, looking above as if she could catch a glimpse of the Player. And Vertin would help through the whole process, easing up to sentience as a whole, to accepting the Player's existence as just something that is there, neither good or bad.

While she's one of the very few who has no trouble differentiating your actions and influence from Vertin's own free will, she would eventually come to respect your choices. Doing her best and beyond whenever you choose her to battle, because now the stakes are higher - now, she's choosing to fight for something she fully understands and cares about.

I like to think that Sonetto can't hear you, but she might be able to see you. Little glimpses here and there, when she happens to look up at the sky, and she sees you cheering after beating that one level that's been giving you a headache. I like to think that she would share these details about you with Vertin, if only to ease her own mind about the complex dynamic you have with THE Timekeeper.

But at the end of the day, this is progress and these are many changes that happen out of your field of vision. Perhaps, one day, Sonetto will gather the courage to thank you for taking care of Vertin when no one else would.

[taddymason]

You are THE ceo of Dragons Rising Jay. I'm interested in how you would have handled Jay in the Tournament of Sources. Like, how would you have liked it to go? Especially the (unfortunately) short fight with Nya.

(long rant with drs2 spoilers)

Ok, so, my biggest problem is that there is no buildup to go from "Agent Walker" to "Wolf Jay". If I weren't aware of the leaks and was watching the show solely with the information presented there I would be very confused about whatever is going on with Jay.

It's almost funny, all the exposition they do and then they jump right into the angst when there's barely any substance. There is no interaction from Jay with Ras, Jordana, or Cinder. We are not shown how he decides to escape the Administration, how Ras recruits or trains him, or how he kicks him off the team. And yes, there are people who will say that maybe they will make an episode focused on that in S3, but if the way to introduce him as an antagonist is to take him out after 3 minutes of screen time with pure exposition dialogues, it is quite messy and disappointing. There is nothing of this character that has been shown after his interaction with Bonzle, only the immediate jump to Jaya angst, they don't even show him regaining his powers or how the hell Ras found him.

So my two options to fix this are:

Introduce Jay defeating other elemental masters, even using shatterspin. Let that be the real shock for the ninjas. Show me at least how he interacts with his own team, how he fights dirty, his relationship and training with Ras, I don't need them to tell me his entire backstory, just let me see how these two talk so I can infer that Jay truly believes Ras was his teacher instead of throwing out that line carelessly. Make the ninjas worry because they know they will eventually have to fight Jay, maybe Nya tries to talk to him. AND THEN do the Jaya fight where Jay loses instead of having the fight be so early in the season. This way, I can at least take Jay seriously, and if I were a casual viewer, I can infer that he's a future threat, rather than a useless kicked puppy.

BUT

I recognize that this season has pacing problems due to handling so many plots and characters at the same time. Maybe there is no time to show all this and it is true.

But if there's no time to give Jay a proper introduction, then I'd rather he not participate in the tournament. It's that simple. I would have preferred that those 3 minutes of screen time be spent on him getting fed up with the Administration and deciding to escape. Maybe leave it there with him getting to meet Arin and Ras at the end of the season.

That would make me curious to know what his future is, it is a slower buildup, yes, but it makes more sense with everything they showed us with him as an agent.

In part 2, I didn't feel curiosity about him, just… pity. You have him talking shit, you have Ras showing him off as if it were his secret weapon, and then you have him like a kicked puppy who runs OFF SCREEN after only exposing how he went from the Administration to the tournament. Nothing else. They did him dirty.

Anyway, I don't want to flood my blog just complaining about the Evil Jay plotline in s2, so this will probably be the last post I make about this because I want to focus on others that I did LIKE about the season, like Arin's arc, which seems perfect to me.

So yeah, don't expect art or any content about DR Jay, the season took away all my interest in what they would do with his character, except- pity, I guess. At this point I've lost hope that they'll give Jay a good arc, so I'd rather accept it than continue complaining.

[maximumqueer]

One Piece and Media Literacy

So this entire post was born out of me trying to understand why there are certain readings and interpretations of one piece that get under my skin so much. I like to think that I am normally pretty open to different readings of a text. I’m an English major, literally 90% of my degree is discussing different interpretations of fictional media, and that often involves encountering people with different readings than my own. That is good, and I think that as long as a reading can be backed up with good faith textual evidence it’s a valid reading. And that was the sticking point for me,  that the takes that I kept seeing had logic behind them. I could see how and why the person sharing them came to the conclusion they did. But, what I realized is that even though these conclusions did make sense, it also relied on an incredibly literal, surface level take on the scene that also oftentimes ignored the context of how and why the moment was taking place. In other words, a lack of media literacy. 

I’m going to use two scenes that I personally view as getting misconstrued as a result of this as examples. The first one is Shanks' conversation with Whitebeard, particularly this sentence Shanks says in response to Whitebeard questioning Shanks on the loss of his arm. 

I have seen this moment be interpreted as Shanks intentionally losing his arm to teach Luffy a lesson in leadership, that what makes a good captain is one who is willing to put themselves and their life on the line for the people they care about. I do think that is a lesson Luffy took away from this moment, but I don’t think that this scene is framing it as intentional. The meeting between  these two characters is grandiose, and the dialogue they use exemplifies that. Just before this, Whitebeard asked Shanks “What enemy did you give that left arm to?” (One Piece, Ch. 434, pg. 11).  Whitebeard isn’t asking Shanks if he literally gave his arm to an enemy, but rather asking who he lost his arm to, but in a verbose way. As such, Shanks doesn’t mean that he intentionally gave up his arm. And while he could have said that a sea monster took it, he instead switched focus from the thing that took it to the person who he lost it for. It shows Shanks' mindset towards losing his arm, and how he does not actually view it as a loss, as it was lost saving a kid Shanks saw potential in, a kid who would be a part of the new era. 

I will also say that the implication of Shanks intentionally losing his arm makes him a worse person, and cheapens his and Luffy’s relationship. The implication being that the emotional distress we saw him in when Luffy was kidnapped and in peril was at least to a point faked. A person in distress is not worrying about what lesson they can impart onto the person they’re saving, and as such saying that Shanks could have in that moment decided to intentionally give up his arm paints him as a much colder, more calculating character, which I would argue would be to the detriment of his character.

And I know that this reading is in part trying to explain why Shanks, a very powerful character, would lose his arm to a sea monster in the East Blue. But this was Shanks from 12 years ago, I don’t think it takes a massive leap in logic to assume that he simply wasn’t as strong of a character back then. Add to that his attention mainly being focused on making sure he got to Luffy in time, and I think him losing his arm in that moment makes perfect sense. 

The second scene is when Rob Lucci suggests that Luffy’s use of gear 2 is causing him to shave years off his life. 

What Lucci says here is often taken at face value, and then applied to every other gear we have seen Luffy use. This is also information that is stated as fact, more often than not. That every time Luffy uses gear 2 or 3 (pre - ts) or gear 4 or 5 (post - ts) that he is taking a couple years off his life. And as this all stems from Rob Lucci, we have to ask 1: Is Rob Lucci knowledgeable enough to actually make this claim? And 2: Is he a trustworthy source of information? 

The first question is up for debate. Lucci could very well make an educated guess about the strain Luffy is putting on his body. But at the end of the day he is only going off of very limited knowledge about both Luffy and his devil fruit. The second question, I would argue, is a resounding no. Lucci is a member of CP9 (now CP0) an intelligence agency that focuses on infiltration. Part of Lucci’s job is to lie and coerce people. This is also the man that killed his fellow soldiers that had been taken as POWs to prevent the county they were fighting from having the upper hand. That is not the kind of person whose word you can take at face value.

It is also worth noting that the broader scene that this line of dialogue belongs to involves Lucci trying to psyche Luffy out by telling him that there is no hope of him or his friends winning, using the claim that he is shortening his life, as well as information that his crew is in a tunnel that will soon flood, killing them. And while some of this info is true, that is not the reasoning behind Lucci telling him it. He wants Luffy to be discouraged and to feel like there is no possible way for him to win. The information he tells to Luffy does not have to be true for this tactic to work. 

What I’m trying to get at here is that analysis that does not take in the broader context of the story, or the established characterization of the people in the specific scene being analyzed leads to a reading based in ignorance, as not all of the information is being considered. It can also lead to misunderstandings within the fandom, like how I’ve seen it stated that Luffy using gear 5 shortens his life span. There is no canon backing for this, other than the literal interpretation of what a villain said about an entirely different gear nearly 20 years ago in real time. Or it can unintentionally paint a character that has previously been characterized as deeply caring for the protagonist as being cold and distant instead, more focused on making the next generation is strong - both physically and as leaders - than about saving the protagonist's (who at the time was a child) life.

[nonuel]

so, mass effect galaxy ends with the big bad telling jacob that they are more alike than he thinks - that jacob would also go to great lengths to protect his own people. you know, standard villain stock phrases and stuff. there are a few options jacob can say here, but as the game is defunct and there's only one existing playthrough left of it that i can find, i have no way of knowing what all the variances are. the playthrough has jacob say "we are nothing alike" - you know, standard hero stock phrases and stuff - and that's really it, the game ends, jacob saved the day, and we never hear anything about this ever again

this bothers me, because i can't help feeling this was the perfect set up for what jacob's loyalty should have been about. while the lines exchanged were cliché, they're cliché for a reason: the villain is often a foil to the hero in any given story, and while mass effect galaxy is a mobile game of limited storytelling, it is Still A Story where the writers were making conscious decisions to include the dialogue and story beats that they did

when you combine this with the fact that (1) jacob is introduced to us as a counterpart to miranda's staunch support of cerberus, someone who is far more critical and doubtful of cerberus; (2) yet he is in cerberus anyway because of the freedom it allows for him to get the job done in a way he was unable to in the alliance; (3) then when you ask jack's opinion of him, she says "jacob doesn't know who he is"; (4) and when you ask samara's opinion of him, she says "events will either forge him into a great man, or utterly destroy him"...

all of these provide a proper set up for a loyalty that would have jacob reckoning with the idea he is, in fact, willing to go to certain and possibly dubious lengths to do what he think is right for humanity. he is already on this path by willingly being in cerberus, instead of staying within the tried and true but often utterly ineffective method (as evidenced in me2) of being in the alliance

note here that this is not a criticism of the alliance per se so much as an observation of the obvious. the alliance is an organization that cannot afford to do what it pleases regardless of the cost, because if it did, then it would have no allies and various wars. these are the sacrifices that have to be made to Exist In Society. this naturally means that the alliance is not always effective at its stated goals

jacob is an action-oriented character concerned with doing good, but he didn't have to join cerberus to keep doing good, because one's standard for "doing good" is subjective. let's contrast him with another action-oriented character concerned with doing good who doesn't join cerberus, and in fact is utterly hostile toward the idea of doing so: kaidan. this post is not about kaidan and i have no desire to derail it by spending much time on him, but i want to illustrate a point

kaidan, much like jacob with cerberus, is willing to criticize the alliance but overall defends them as being the best option. unlike jacob, he is unwilling to meaningfully consider alternatives due to his own personal hangups that relate to his story and background. despite his own misgivings, kaidan will stay with the alliance because he believes it will always be better than joining cerberus, even if cerberus is objectively doing a better job in the moment of handling a dire situation. this is all to say: kaidan already has a hard limit of what he is personally willing to do in order to "do good" like he wants

we never see this hard limit for jacob, hence my saying he is already on the path of doing whatever it takes by merely joining cerberus. my personal feelings of cerberus aside (as that would really derail this post), they are known for the dubious methods they are willing to take to get what they want and are, canonically, classified as a terrorist organization

it would have made a lot more sense to actually explore this hard limit in jacob for his loyalty, rather than we got. what is jacob's limit? what lengths is he actually willing to go in order to do what he feels is right? what effect does this have on him? and this is where jack and samara's statements about him materialize. like most of the loyalties, there would've been a paragon and a renegade route, and samara's prediction would correlate with whichever route was done. and at the end of it, jacob would grapple with his identity in a way a lot of the squadmates do at the end of theirs, and this is where jack's assessment would be answered. jacob would know who he is at the end of his loyalty, for better or for worse

the details of whatever it is jacob does isn't really the point of this post, because it could really be anything as long as the dilemma within the loyalty was sufficiently complex enough. i personally think something involving cerberus, the alliance, and characters from mass effect galaxy would be best, because these are all things that already relate to jacob's character and the main plot (or significant b plots)

[cricketwrites]

Never Again

GIF by ryousakurais

Prompt: Repeat the same line of dialogue, from the same character, three separate times.

"You're really an idiot sometimes."

Aomine Daiki had said that to you three separate times, on three separate occasions, with three different meanings behind it.

The first time he said it, it was jokingly, when you were young teens in middle school. He'd said it with a big grin and a pat on your head. You don't even remember what you had said, you just remember the look on his face.

It drew you in… he was like the sun. Bright and blinding, but comfortably warm.

You found yourself going to the Teiko Middle School basketball team practices more, just to see Aomine. He always grinned and waved at you, then took the time to talk to you after practice. He asked your opinion, if you thought he was cool, and if you thought he could improve in some way.

It was sweet. He was sweet. He always made sure to include you, even if you knew nothing about basketball. As long as you liked it, you were a good person in his eyes, and he seemed to really enjoy your company. You ended up with a crush on him, how could you not?

The second time he said it, it was insulting.

Lately, Aomine had become cold and closed off. He stopped talking to you, he stopped asking your opinion, he stopped talking to you in general. When you had finally cornered him and asked, he said those words. He'd said them with a sneer on his face, asking if you really couldn't tell how he had become bored of you, or if you were really that dense. How people as great as him shouldn't even associate with "the likes of normal people like you". How he had ascended beyond the need for friends. All he needed was to win, to find someone who could beat him.

He could be satisfied if he got that. That was all he needed, something to pique his interest again, to make him feel something again. He couldn’t feel anything anymore. Winning had become something he didn’t care about anymore, he couldn’t put in effort if he never had the energy to anymore. He didn’t have the energy for friends anymore, everything bored him, including you.

You couldn’t stop the tears flowing down your face, you could feel your heart breaking into tiny pieces.

Then came the anger. You couldn’t stop yourself from smacking him, despair taking over your features. If he didn’t need you, you didn’t need him. You would find your own happiness, it didn’t rely on him.

The rest of middle school went by in a blur after that. It turns out that you and Aomine were going to the same high school, you two ended up being in the same class, but you barely spared him a glance. A silent acknowledgement before falling back into the routine of pretending like he never existed in the first place. You never stopped wondering about him though, wondering if he had ever found the perfect opponent, mourning the sweet boy you loved in middle school.

The third time he said it, it was affectionate, but lost.

Touou had been beaten by Seirin, and Kuroko had asked you to meet him outside of the building. It made sense, you two hadn’t spoken since the end of middle school. It would be nice to catch up with one of your only friends from Teiko who didn’t forget you existed.

You didn’t expect to meet Aomine outside, instead. All of the pain came back, the heartbreak. He looked shocked to see you, then conflicted. He hung his head and looked at the ground, a strangely submissive gesture, considering how aggressive he had been with you when you last spoke.

After what seemed like an eternity, he spoke.

“I’m… sorry.”

You looked at him in surprise. He had actually apologized?

“Why are you apologizing?” You asked, voice soft and, admittedly, lost.

Aomine looked at you like you had grown a third head.

“Why am I-? I treated you like shit. Kuroko finally knocked some sense into me, I guess. More than Momoi could… and she tried for years. After you left, I felt a bit more… empty I guess. Didn’t know that was possible. And I have feelings for you or whatever, that’s what Kuroko said and I guess I needed to think about that so yeah. I’m sorry.” That was the most words you had heard him speak in years, especially to you. He had “feelings” for you? Kuroko knew? You had told Kuroko a long time ago, but you were surprised he still remembered. You were also surprised that somehow Kuroko got Aomine to admit his feelings.

“I appreciate your apology… and I liked you. A while ago. Now..? I’m not so sure.” You replied, keeping your gaze on Aomine’s shoes.

Aomine looked shocked. You liked him? Since when? Wait, liked… not like. He missed his chance.

“But… I’m willing to try being friends. We can see where things go from there.” You smiled. A sudden apology wouldn’t erase the years of heartbreak you had experienced at his hand, but you would be willing to talk to him. You’d be willing to try, as long as he put in the same effort, and he would.

Aomine wouldn’t lose you again, once was more than enough.

I hope you guys like this! Fics take me a lot longer to finish than headcanons do, but I really enjoy writing them when I have the spoons. BTW If you want a part two to this, let me know and I'll happily do one! I don't know if the ending falls a bit flat, so Im just curious on your guys' opinions ∧,,,∧ (  ̳• · • ̳) /    づ♡ Ask Box: Open! ~Cricket <3

[glittering-snowfall]

At the time even the film's creators seemed nervous about what they had created. Like, when Diablo Cody in defending the film's same-sex kiss talked about her intense female friendships, how she "wanted to sleep at my friend's house every night, I wanted to wear her clothes, we would talk on the phone until our ears ached." Yeah Diablo, I had that with some of my guy friends as a teenager too, it was called being gay. The article that quote is from still finds the time to chide Cody for not doing good feminist representation, though, and I guess that makes me somewhat sympathetic to Cody here. Did she know that culture was in fact going to be too dumb to get the way Jennifer is both a predator and victim, the way her love for Needy is at turns beautiful and toxic, the way expressions of queer desire get warped into complicated, problematic forms by a diseased culture?

The film is full of uncomfortable joke/horror ambiguities, which were at least grasped by some critics (the film did have a number of favorable reviews, though they couldn't compete with the horrible marketing). As far as I can tell, the developing blogosphere, on the other hand, understood none of this from the moment they got their grubby cheeto dust covered fingers on the script before the film's release. Diablo Cody had amassed a considerable loud hatedom at that point, of both the aforementioned cheeto boys and their female counterparts,  going apoplectic over the "fantasy" that "Diablo Cody is a magical snowflake who can spray her unique pixie dust on an otherwise conventional script and give it indie cred". Perhaps the film's obsession with female relationships characterized by violence, jealousy, and crab bucket behavior cut too close to home for such critics?

Or maybe they just genuinely hate Diablo Cody's "twee dialogue". You hear about this? Yeah, Diablo Cody writes twee dialogue. This mantra seems completely unassailable now, basically accepted by even her defenders. What's so god damn twee about it though? To be sure, I remember mentally grouping Juno in with Napoleon Dynamite and Little Miss Sunshine. Jennifer's Body reveals just how much "twee" is a function of the film in its totality, though. I mean, I feel like this should be obvious but the exaggerated quippy dialogue comes across a little differently in the context of a film featuring sexual assault, people being burned to death, ritual murder, demonic possession, and teenagers being sadistically eaten alive.

In that context her dialogue comes across more like a nightmare funhouse mirror version of Joss Whedon's now eye-rollingly ubiquitous quips. Whedon and his bazillion interchangeable hack studio vat clones never aspired for much actual wit beyond the "umm well THAT just happened". Cody's dialogue on the other hand is baroque, in love with weird wordplay and uncouth associations. Needy refers to Jennifer affectionately as "Vagisil". Jennifer, in a line that caught me totally off guard midway through taking a big sip of water, jeers that Needy needs to "Move-on dot org". Yeah, no man, you're right. This isn't how "real" teenagers talk. Also, Jennifer's not "really" possessed by a demon, it's a thing we call "Movie Magic".

Though, actually, it's not totally unreal. This baroque, warping dialogue feels now like how teens trash talk under ideal conditions: on the internet. This movie's dialogue is posting. Like Homestuck, the point is not to capture a literal representation but instead a vibe of the kind of unrestrained, often vulgar and offensive dialogue of teens shit talking each other over America Online Instant Messanger or replies to their friends' Xanga posts. It makes perfect sense that both Jennifer and the various Homestuck teens would call each other retards, for example. There's a real sense in the film of characters pushing boundaries, testing the limits of their ability to perform adulthood. It's not just an act in the sense that it's a movie you plodding dullards, but in the sense that these characters are performing their idea of maturity.

There's nothing of that performance when Jennifer, in the back of a van going who knows where, sobering up and getting a grip on her real situation, asks the members of the band Low Shoulder, "Are you guys rapists?"

The climactic flashback, late in the film, when we witness the band's brutal murder of Jennifer, still has plenty of quips, of course. It's just that now Jennifer's ability to perform any kind of mature confidence has been brutally ripped away by a bunch of third rate emo douchebags. All the quipping, over top of her desperate pleading for her life, issues from the douchebags, who treat the whole scene as a joke. The affect of this scene feels complex to me. It's still Diablo Cody's script so there's some pretty good one liners. Megan Fox, though, is playing the scene for pure horror, so the humor adds to the horror for me. For these guys, rape and murder is just, like, kind of a fun night out. They can sing pop songs while ramming a bowie knife ("Bowie! Nice!") into a teenage girl's body because their biggest concern is whether or not they can get their shit band on Letterman. 

I think it's notable that for a solid number of people--particularly though by no means exclusively women--this scene is not damaged in its horror by this dissonance. At least not now. And why should it be? Horror has never just been about what's "scary" or worse about startling people with jump scares. Horror has always partaken of a complex mix of affects: fear and visceral startlement, yes, but also grief, shock, disgust, rage, contempt... attraction... humor. The best horror might fuck with the viewer's head, prompting arousal or humor simultaneous with disgust or fear. Why play these things off each other? Maybe to destabilize us. If we feel a moment during Jennifer's brutal murder where we're just a little bit charmed by these self admittedly cute boys, maybe that prompts a question like: what other monsters might be hiding behind charming façades?

The post-9/11 years and incipient Obama cultural revolution were unfortunately for Jennifer's Body a time for dumb affects. We pretended Rudy Giuliani hadn't spent several years turning NYC into a characterless, facile police state before bungling the 9/11 disaster response. Clear Channel, now the insipidly named "iHeartRadio," banned numerous songs for fear of causing even a shred of offense. The FCC got more censorious, waving its own dick around to far more culturally degenerate effect than any superbowl nip slips. Even researching this period is tedious: the articles I access are full of euphemistic phrases ("Mr. Bush was caught on videotape last July using a common vulgarity that the commission finds objectionable") so tortured they could have been dreamed up by the Bush admin's army of Eichmanns. I did discover that the maximum penalty for saying "fuck" went under Bush from a draconian $32,500 to a wild-eyed spittle-mouthed $325,000. People who objected to the dogshit state of culture and politics were drummed out of society, as The Dixie Chicks were. Or, more commonly, folks sorta slipped out of the public eye after getting played off at awards ceremonies, quietly shelved.

The primary objection to all this unfortunately did not come from anything really resembling a left but libertarians, constitutional bill of rights fetishists, and South Park. Democrats, never willing to lose an opportunity to supplicate themselves in spineless nematoad subservience to reactionary forces, attacked the Bush FCC for not fining stations MORE for Janet Jackson's sexual harassment by Justin Timberlake. Cool!

I wanted to talk about how this extended into the Obama years but here's the weird and ominous thing: a lot of the statistics and research material on the FCC's censorship actions just sorta stop in 2006. A lot of the relevant links from the FCC's own website are dead now. I doubt that means things improved under Obama. I mean, why should the FCC have stopped fining people for saying "dickhole"? It's not like any of the natsec state's border wars ceased, or the detaining of people without trial in the torture pits of Guantanamo, or the deportation of migrants, or the wiretapping of civilians. The prosecution of whistleblowers actually increased drastically under Obama, as did the lobbing of drones at wedding parties.

We bore this because Obama offered an alternative to divisiveness and the stale politics of the Bush era. We didn't have to tear down and dismantle what the Neoconservatives and Bible-brandishing Evangelical cultists had built through rancor and strife, we simply had to present a different way. A way that would unite the country. A way of hope. THROUGH THE TREEEES I WILL FIIIIIND YOU I WILL HEEEEAL THE RUINS LEFT INSIIIIIDE YOU

Now Needy's increasingly frantic sense that something is very wrong and all the memorial rallies and posters in the world can't fix it resonate pretty strongly with me. And, of course, after watching Low Shoulder brutally murder a teenage girl the whole grief and recovery (with a hit song!) thing feels like a cathartic confirmation of what I felt a lot during this period: that all sorts of cynical fucks were exploiting tragedy to their own ends. It never seemed to be quite the right time to bring up how cloying and often disturbingly fascistic a lot of the Strong In The Face Of Tragedy pop culture was. It was either offensive to the victims of terrorism, or offensive to Our Troops, or, extremely conveniently, before the critique even had a chance to be levied it was suddenly old hat: the Village Voice sneeringly dismisses this film's "routine “risky” digs at 9/11 kitsch". It was hard to tell Republicans to go lick a d*ckh*le when President Obama was wearing flag lapels and having grotesquely performative "beer summits" to bring together a completely innocent black college professor with the racist pig that arrested him. You wanna talk kitsch? Obama was so fucking kitsch, homeskillet. Kitsch and twee to a degree no Diablo Cody dialogue could ever sink.

Here's something that's not kitsch or twee: Needy finding the sacrificial knife that stole her friend/love interest, and using it and inherited succubus powers to murder the shit out of every member of Low Shoulder. That's cathartic as hell. I said earlier that no one in this film really deserves what happens to them. Low Shoulder are the exception, and it's so satisfying to see that knife buried to the hilt in the lead singer's shitty torso.

from We Were Too Stupid for Jennifer's Body

[seraphjewel]

Star Trek Prodigy Season 2 thoughts

This show is everything I love about Star Trek. It may be produced by Nickelodeon, but it doesn't dumb anything down just because it's "for kids." I love how none of the main characters are humans, which not only takes advantage of being animated to give us cool alien designs, but also acts as a great visual for Starfleet's ideals. It's visually stunning and the writing is superb. It gives a season-spanning story while also making time for those wacky space shenanigans we expect from the franchise. It's funny, it's creative, it's heartfelt, it's emotionally powerful. The season finales for both the first and second season had me in tears.

Aside from adding to the chorus begging people to watch season 2, I'm just going to share some thoughts on this season. I tried so hard to watch it slowly but it's easy to binge. I'm now watching through it a second time. Cut for spoilers.

As a fan of the older Trek shows, I love how much the show clearly loves older Trek. We saw it a lot in season one, but since season 2 has the legacy characters in more prominent focus, it's more obvious. They are written with such loving care, every part of who they are is nailed down perfectly. There are so many callbacks and references and small touches that are scattered in the dialogue and visuals. Amazing Easter Eggs for Trek enthusiasts-- and another reason to go back and watch, to find ones you didn't notice!

This season made me much more interested in Chakotay and Wesley as characters. I was pretty ambivalent toward them both when watching their respective shows. I didn't find Wesley annoying, I just didn't care for him one way or the other. So having him return as this slightly unhinged Time Lord made him so much more appealing to me as a character. The fact that he was willing to go to some extreme lengths in order to get the timeline just right was some fun gray morality. I also liked that he seemed like he wasn't always sure when he was in the timeline. It reminded me of Mantis in the Guardians of the Galaxy game. And that made perfect sense coming from someone who could jump through multiple timelines just through thought. Wesley was complex, intriguing, and I'm so glad for him and his actor. He deserved it.

In a similar vein, Chakotay was one of the least interesting Voyager crew members to me. This isn't necessarily his fault. He was going up against some pretty big personalities, like the Doctor, Tom, B'Elanna, Seven, and Janeway. I also don't think the writers really knew what to do with his character. But again Prodigy wrote in some depth and complexity. They actually identified what tribe he was from. Watching the episode where the Protostar crew finds him made me want to write fanfic about Chakotay. That's how good they were at making this guy interesting for me! I loved seeing his slow descent into isolation and bitterness; I loved how almost insecure he was at times; I loved how he took command and led the crew. I'm a fan now and I want to go back to watch Voyager for him.

The season also made me a Janeway/Chakotay shipper. I saw the episodes in Voyager where they were feeling things, but personally I'm glad that they never crossed that line. There are way too many stories with female leads that act like they have an obligation to give her a romance, when the same would not be true if the lead was a male. In my opinion, it was better there was no definite love story for Janeway on Voyager since that was going against expectations. As Prodigy season two told its story, I was definitely picking up on strong love vibes between Chakotay and Janeway. I was convinced they were separated lovers, and when they were together they couldn't keep their eyes or hands off each other. It was excellent visual storytelling. I wanted them to be together at the end. For someone who didn't ship them before (I was more into Tom/B'Elanna), I'd say that's a big achievement for the show.

To sum up, I love this show so much! My only request is they try to incorporate Deep Space Nine somehow. #SetCoordinatesforSeason3

[rambles-on-dragon-age]

Varric doesn't give you the nickname Rook, your whole faction calls you Rook. It makes no sense to give you a faction specific last name and then your faction doesn't even use it, but yeah.

Hi hi!

This will be a bit of a ramble, sorry.

Varric, as a character, gives nicknames to those he's around for any length of time. (Solas is Chuckles, Merrill is Daisy, Vivi is Iron Lady, etc. Very few people in close contact with him will escape earning a moniker. I can go on about how I think it's one of his ways of telling people he sees them, but I digress.) The player character has been traveling with him for a year/the better part of a year. Varric would have definitely given them a nickname in that time. (Honestly it shocks me Harding doesn't have one by now but maybe he tried and she shut that down like Aveline once did lol) When you're putting out your things in the Lighthouse one of them is his shaving mirror and you have a moment of reflection about what he said when he hands it to you. There's also the whole time where he's giving you advice and guides you (IYKYK) and it's clear he means a lot to a Rook and they're close.

That is to say, no matter what faction you were with, you left in disgrace. You broke some code the higher ups held dear, messed up well laid plan, ignored orders to save people, etc. You didn't "fit the bill" for your faction and were summarily "adopted" by Varric to help in his hunt for Solas. Those things that made you a bad fit for your original faction? Made you perfect for what he's doing. A good person that doesn't let the potential costs stop them; they see what needs to happen to help people and will run head first into it and manage to figure a way through the most fucked up situations possible.

When you first meet Neve, you're introduced as Rook. "Like the chess piece?" Yes! One of the most powerful pieces on the board, "but tends to think in straight lines". Which becomes evident in all our shenanigans as Rook through the game. Rook's ability to claw their way through the worst situations and be flexible and creative means that Solas wouldn't be able to predict them or what they'll do. Which turns out to be right; he doesn't expect you to drop a statue on him in the middle of a massive ritual. Rook saw only "this ritual needs to stop NOW" and found a way, no matter the consequences.

I didn't hear that dialogue my first game, though, because I did my first run as a Shadow Dragon. Neve doesn't comment on the naming convention because instead Varric says you both do work with the Shadow Dragons and she just skims past the naming convention to say "Oh, what a coincidence." You are still introduced as Rook at first; it's not until later when you're in the Lighthouse where you can have the conversation that you've heard of each other even though you've never worked together.

Because even if I've worked in the group beside you under the same boss for 20 years, if you're introduced to me as "Rook" instead of "_____ Mercar" I'm not going to know who you are. It's not until later, probably while you're unconscious and she has a chance to speak to Harding, that she says she knows who you are. (Based on what Bellara says when you find her in the forest, you've been out cold for two or three days. Can you imagine what our detective figured out in two or three days?)

All that to say, if "Rook" was given to you by the Shadow Dragons, Neve would have said "Oh! I heard of a Rook." instead of just "Oh! What a coincidence we're both Shadow Dragons." She doesn't comment on who you are and what you've done until later when you have a chance to talk to her in the Lighthouse.

And throughout the game, you continue to be introduced as Rook. Even if you started as another faction, if you're written a letter about "Rook" and not your real name, why would anyone know who Rook is until they meet and go "Oh this lil shit right here. I know this asshole."