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wolf-and-bard · 4 years ago

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The Geraskier Dungeons and Dragons AU of my dreams (inspired by the TAD AMA and Joey apparently being an amazing dm):

-"Why do you hate fun," Eskel complains - for the fifth time that day - after Geralt refused his invitation to a new DnD campaign - for the fifth time that day. Geralt doesn't hate fun. He hates play-acting and games, especially if they rely on luck and are overly complicated, he hates big groups of people, and he hates being told stories. Dungeons and Dragons encompasses all of those aspects and that is why Geralt avoids it like the plague. "It's not for me," he mutters and hands Eskel the sandwiches he made for him to take to work. - "But this Jaskier guy is legendary, like I heard he's the best Dungeonmaster in the state." - "Likely an exaggeration...." - "Pleeaaaase. I had to bribe the hell out of Aiden to have him give up the two spots he had." That piques Geralt's interest. "What'd you bribe him with?" Eskel scratches his head sheepishly. "I may have sold our brother's hand in marriage." - "That's ballsy for you... does Lambert know of his luck yet?" Eskel shakes his head and Geralt huffs a laugh. His brothers are unbelievable, one so nerdy it makes up for Geralt's complete lack of interest in pop culture, the other an oblivious prick that tends to get arrested for being offensive. Ciri is their only hope. "So are you coming?" - "Absolutely no way."

-Geralt doesn't want to go and until half an hour before the game is supposed to start, he keeps his resolve. But then Eskel bursts into their shared living room - their flat is still attached to their father's house, but separate enough that it feels like their own; Lambert has a type penthouse suite to himself and Ciri still lives with Vesemir in the main house - with an excited blush and wearing a WoW shirt and the biggest, brightest puppy eyes, and begs Geralt on hands and knees to come with him. "Why though?" Geralt asks. "Would be more fun if I stayed away..." - "But I'm awkward and your pretty face may distract from that." - "Esk, we have the same face." Which is true, save for... oh. The scars. Of course, Geralt wants to smack himself. Eskel always tends to be more self-conscious in groups of new people because of his marred face, an accident in the zoo when they were young. He believes having Geralt with him shows other people how he is supposed to look like. Geralt doesn't believe it's a great coping mechanism, but he can never deny his twin anything. "Fuck," he grumbles and a triumphant grin blooms over Eskel's features.

-That first session is to go over the basics for anyone who needs a refresher and to talk about what each player expects from the campaign bla bla bla; Geralt doesn't contribute more than the odd grunt and is soon distracted by Jaskier's bright eyes, his pretty mouth, his whole energetic demeanor... he develops a little fixation over the course of the evening and gives up on trying to understand the game

-Jaskier approaches him after, while everyone else is exchanging notes on their characters, excited and electric and Geralt hasn't the first clue on what to do. A light hand on his shoulder, a welcoming smile. "Geralt, right?" Geralt nods curtly and Jaskier pulls up a chair and sits. Way too close for Geralt's comfort. He doesn't... mind? Fuck are those butterflies? Already? "If you have trouble figuring out your character, we could always do a private session to get you going. What do you say?" - "Saturday," Geralt grunts in reply. Jaskier claps delightedly, then is distracted by one of the women, Calanthe Geralt recalls, asking if she can play a lioness shapeshifter. He lets Eskel collect him, endures his brother's constant prattle on the ride back. He dares to give the whole thing a shot.

-Their private session starts out with Jaskier explaining different classes of characters, a few bottles of Geralt's favourite Redanian Lager on the side. He tries to listen, at least at first. But then Jaskier keeps licking froth from his lips and some of the perspiration from the cold bottles runs down his exposed neck and fuck, Geralt just can't stop himself. Eskel said over and over that Jaskier was basically a magician, but Geralt thought that would be restricted to the game. Nope. His dick definitely twitches when Jaskier leans over him to grab the dice Geralt brought upon Eskel's recommendation. Geralt catches a whiff of his shampoo - vanilla? - and Jaskier's arm brushes Geralt and well. He lets out a low whine. Jaskier hums a question mark, but when he sees the look on Geralt face his encouraging smile turns devilish, knowing. "Good," he breathes, drops the dice and climbs onto Geralt's lap. "I thought it was only me." Geralt catches Jaskier's hips and they kiss. No classes are studied that day, no alignments picked, no attributes determined. Instead, Geralt learns all the beautiful noises Jaskier can make, learns some of his own anew. They will need another private session to make up for lost time

-"Perhaps I should just design a character for you," Jaskier pants into Geralt's neck as he slow-fucks him on their couch, Eskel being out with Lambert to clear up the whole Aiden thing. It's the third time they're meeting to figure out Geralt's character. Geralt grunts and accelerates just enough to keep them both on the edge. His skin is burning and Jaskier writhes, his shoulders littered with bite marks. "Oh, fuck, Geralt, please." Later, Geralt agrees to Jaskier's suggestion. He makes him pancakes for breakfast.

-When the first session is well underway, everyone quickly realizes that this game really isn't for Geralt. He tries, he does. Jaskier was kind, gave him a stoic half-orc warrior that communicates mostly with grunts, but he still doesn't get all the rules and Calanthe is getting impatient with him, her boyfriend Eist amused by this, and Eskel keeps throwing the dice for Geralt, and these girls, Téa and Véa, stare daggers at him. Jaskier's watches it all with amusement, gently steering the group back towards their adventure - not that Geralt has the first clue what their objective is. But Geralt wants to keep playing if only because Jaskier is so fucking beautiful in his element, imitating voices, using the most ridiculous vocabulary, glowing with pure joy. It's a privilege to see, Geralt understands that now. And he has to thank Eskel for taking him despite his reservations

-"Won't you go on a normal date with me?" Geralt asks one night when they are wrapped up in Jaskier's bed, contented and tired from their earlier activities. "I could take you hunting or whatever." - "That's what you call a normal date?" Jaskier laughs and kisses him lightly. They haven't defined whatever it is they're doing, but Geralt is in no rush. Especially because he hasn't yet dared to breach the topic with Eskel who quickly befriended Jaskier (and everyone else of course, at the end of the day Eskel is a social butterfly, no matter what scars he bears). "Just... go out with me." - "You know, usually I have a strict policy for dating players, but... well that's already way out the window so, yeah, okay. I'll go out with you. But we're absolutely not going hunting, I'm a vegetarian." Alas, there had to be some catch.

-Geralt keeps playing and his permanent confusion becomes part of his character as well. It isn't ideal, but the others - and Jaskier's forgiving storytelling - drag him through to the end of it. By then, Geralt almost gets it. "Well," Jaskier concludes. "That was a bit of a different campaign. Hope you all liked it." The bastard acts abashed. Hah. Geralt and Eskel are the last ones to leave after they all toasted and talked about playing again some time. "You coming?" Eskel asks, hovering near the door. He's long past his initial anxiety, his fangirling, his self-consciousness. That too has been a glorious part of this, seeing Eskel unfold, gain confidence, be at ease. He likes that he could give his brother the safety he needed. "I, uhm," Geralt starts, but Jaskier interrupts by threading his arm through Geralt's. "We are! What's for dinner?" And he drags Geralt past Eskel who raises a brow. Geralt tries to communicate with his eyes all he neglected to tell Eskel. It's only because they're so close that Eskel at least understands that they are something like boyfriends now. He laughs.

-"My baby brother," Eskel lulls later when Jaskier is already passed out from too much wine and Geralt and him stand outside, sharing a rare cigarette. He ruffles Geralt head. "I'd wondered why you stuck around so long." - "Fuck off," Geralt says.

-The next time Eskel invites him to a campaign, Geralt tags along. Not because he particularly wants to, but because now there are two pairs of puppy eyes, begging him, and he can't say no to either of them, let alone both (maybe someday he will actually enjoy the game for its own merits)

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dokidokiliteraturegirls · 3 years ago

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I really admire your original characters! Do you have any tips for someone trying to make some themselves?

Aaawww thank you so much!! It really means a lot to me that you like my OCs so much~! 🥰

I don't think I can give super useful advice, since I'm very much an amateur writer myself ^^;; But yeah, I can share a couple tips I think could help you! ❤️

When you're making original characters, there's a lot to consider. But to keep things simple we'll divide it into 2 topics: Visual language and writing personality.

Visual language

Character design is in and of itself its own huge thing. But what I think you want to remember the most is that the character's visual design can be another form to represent their personality. Not only that, but you can extend that to the place they play in the story. Here are some of my own personal choices when designing OCs:

You can have a lot of fun designing a character's visual appearance to complement/emphasize their personality!

Writing Personality

But you need a personality to emphasize in the first place! When it comes to this bit, this will be very personal to every writer, their preferences, and the story they're trying to tell. Every character has their own role to play in their own kind of story, so you can have very wild variations from character to character. But there's something I feel applies to every character. Regardless of whether they're a multiverse god that destroys planets for fun or a meek office worker that finds joy in taking care of their potted plants back at home, there's something you'll always want to avoid: DO YOUR BEST NOT TO MAKE THEM A ONE-NOTE CHARACTER!!

One-note characters, just like every other kind of character, have their own place and context where they work best at. If you're writing a screwball comedy or a children's book, you can absolutely have characters whose entire personality is a single trait. Heck, it may even be the ideal. However, if you're writing something more serious where you want people to feel invested in and relate to your characters, please avoid making them one-note, because that'll most likely make your audience find them boring.

The best way to avoid this is to think of them from different angles. Let's say you have a character whose main defining trait is that they're a workaholic. That's a great start! But also try to think of them in other scenarios: why are they such a workaholic? Does that make them feel fulfilled? Why do they feel the need to prove themselves to the world through their work? Or maybe that's not the reason... maybe they just enjoy distracting themselves with their work? Is this ever a detriment to them? What would it take for them to stop working so much? Would they abandon this passion for the sake of someone they care about? Would they skip work days in order to accompany a loved one in the hospital? Do they have any other hobbies? Why did they choose that specific hobby? How would they react if someone took their hobby away? These are just very random questions that I'm thinking of as I type them, but I encourage you to do similar exercises. Try to think of your characters in different situations and how they would react to different stimuli, and that'll help you figure out more aspects of their personality and end up with more well-rounded characters!

Rapid tip round

While I typed the text above, I thought of other tips that don't really belong to either section, so here are some rapid tips:

- There's no shame in looking at examples. Plagiarism should obviously be avoided, but if you find a character that's a stoic and you really enjoy them, consider writing your own spin on a stoic character.

- If you're doing this as a hobby (like as opposed to being a professional writer doing it for money), prioritize having fun over everything. Ignore conventions and what people might find cringe, and write to your heart's content. Be as self-indulgent as possible and enjoy yourself. There are no stakes yet, so why worry?

- There's no shame in getting it wrong. Keep trying until you find something that makes you happy.

- Prioritize making yourself happy and proud of your work before writing something you hate just to appeal to the maximum number of people possible. Even if your audience is small, you'll find yourself feeling more fulfilled.

- There are many free online courses about character design and writing available on youtube. They're worth checking out if you're interested, there are some really talented people out there willing to help!!

- And above all, keep trying to improve yourself but never stop having fun!

I must repeat that this is not meant to be professional advice in any way shape or form, as I'm anything but a professional. However, I've often found that having fun and being true to myself has been what has kept me writing the longest. I hope you find at least one of the things I mentioned useful, and I wish you the best of luck in your writing~!!

-Yui ❤️

#im sorry this is so long but im really passionate about writing aklsdmklasmda

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rinharu-purple · 3 years ago

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Emmm 👉👈 can i request Gavin's spring festival date analysis?! Ehem especially when Gavin said "I've waited a long time for today.." 💙

But Of course if you're not busy.. I'll wait patiently.. I just.. love read your analysis 💙 like i can feel your love and dedication for Gavin.. a lot of Gavin stan is very smart and loyal.. just like Gavin itself

Hello nonny and of course you can! Thank you for your lovely ask and reading my posts. It makes me really happy to hear this 💞 I can also double up what you've said, Our birdcop is smart and loyal and I really love being a part of Gavin-standom which includes so many talented writers, artists, analysts and it has @cheri-translates! There are so many great posts from various accounts and one can feel the love, passion and loyalty towards Gavin in all of them! 💫

An analysis on Spring Festival date is so overdue, so it is me who should apologize for not having written this before. I will more than gladly include your request scene, I hope you enjoy it ^_^

MC Testing Waters: Spring Festival Date

At the beginning of the game, MC is a young woman with lots of love in her heart, however without much experience in love. Fortunately this starts to change when she meets LIs as adults.

Spring Festival Date takes place after Firework Date and before the Romantic Date, although the timeline is quite messy, which I will come to by the end of this analysis.

If you look closely, you can see MC checking Gavin's romantic feelings towards her by using this "boyfriend game" and also uses the opportunity to get beyond his hardened exterior and touch his vulnerable side 💗

Spoilers start below this line

This date comes to, because MC lies to her aunt about having a boyfriend to avoid arranged blind dates and even promises to visit her on New Years with her boyfriend. Speculatively it seemed like a solid play, until...the time literally came.

Thinktanking about a way out of this with Kiki and Willow, they weight different options as to tell them she broke up with him, leave the city or call in sick but then the best wingman on earth Minor saves the way and suggests that she just takes a "fake boyfriend" with her, surely enough with Gavin in his mind.

MC goes through her contacts list to search for a suitable candidate, but her heart Whispers her the answer by skipping a beat as her fingertips scroll down to one name.

... Gavin

As such... MC has chosen her player for the game and Gavin's Heart Trial with MC's family commences...

---Press Start---

Creativity Test

Unluckily Gavin actually shows up for this highly important date late, with his phone off! From the storyline he arrives a couple of minutes late to MC’s aunt's place, thus starting the game one point behind. He was late because he was buying presents for the whole family! With the spot on gifts which are well received by the family because they're expensive, imported goods, limited products, cute and thoughtful he makes up for the lost points.

But it's just the first stage and he has 3 more stages to clear, the pressure is slowly rising.

This gray suit has a lovely story behind it, which you can find by the end of the story.

Decision Test

Gavin has passed the creativity test with flying colors, but in the second stage more challenging questions are on the menu. The eldest aunt wants to know Gavin's age, occupation, salary(?!) and possessions(?!). The last two questions are fairly over the line and is a no-no in my country. Asking people about their financial status as well as bragging about it is perceived as rude and insolent, that's why the way Gavin answers these questions skillfully without bragging about his wealth adds just another brick on my Gavin-temple.

Age: 24

Occupation: Police Officer

Salary: Covers the bills

Possessions: A flat in the city and a motorcycle.

In my Prank date analysis, I've mentioned about Gavin's ability to deal with impertinence and also here, he stays friendly, but only answers the questions necessary to get through with the situation. MCs family is checking whether he's wealthy enough to take care of MC (which is sad that in the 21st century that in some countries women need to be financially secured by men). So Gavin just gives them just the right enough of information to pass the test and pass he does.

There is another aspect to his way of answering though. You see, Gavin is an unmaterialistic man. He doesn't care about money or any other meta. He doesn't touch upon the fact that he's coming from a wealthy family, or that he inherits his grandparents house or that he can afford designer dresses, overseas travels or gems without giving a second thought. That shows just how humble Gavin is and I love him for it. What defines him is not his wealth, nor does he allow anyone define him on his financial status. It's his character, the values he stand for, the vision he embodies, the way he treats MC.. Ehm.. And.. His champion body and drop dead gorgeous looks (comes as an extra;))

But the game is far from over, because the family council is now going to challenge him on...

Affinity Test

This is where things get rosy as the family would like to know how they've met and whether they've been together since high school.

Look, Gavin is actually not playing a game, but living the moment. He is well aware of the fact that once he and MC become an official pair, he will be standing on the same spot a year later. He is serious...

So when they ask about their affection, he gives them his genuine answer and confesses his crush on her during high school and says that they've been going out since fall. This dazzles MC, as if she hasn't been dazzled enough lol.

The three glasses of drink he gulps surely has a role in this sincerity and taking three glasses of a drink as a punishment also becomes a tradition for MC and Gavin in the future.

And so, he proudly passes the Affinity Test with flying colors, effortlessly. Only one more stage and he's done it!

Execution Test

Every hero has his moment, when the fight takes a gloomier turn against his favor and the odds don't look good as before when he gets a strong blow, that is when the family hits him with the question "Don't you get alone well with your family?".

This is Gavin's weak spot, his cryptonite, his bleeding wound and MC's family just pressed on it. What makes this scene so heartbreaking is not just the topic itself and we know why it is a sensitive topic for Gavin but also that Gavin actually tries to signal them that this is not his favorite topic. He tells them he doesn't go home for holidays (friendly warning number 1), the aunties pushes by telling him to take some meal with him to which he replies "Thanks, but that's okay. I've been away for a long time" (friendly warning number 2) the family pushes further and as a one last resort he tells them that during college he rarely went there and spent holidays working afterwards (friendly warning number 3). Sadly the auntie than ignorantly ask whether his family doesn't worry about him and now because he's given three fair warning shots which, he downright gives them a brief and resolute answer:

- No.

That's usually the latest where people with common sense stop digging in further. Unfortunately then the auntie asks whether he doesn't get along well with his family to which Gavin no longer responds. This is the perfect way of dealing with such people and Gavin has a very intuitive talent for dealing different people from different mindsets. Give them three friendly and fair warnings, still pushing? Then give them a last chance by one final brief and to the point answer, they choose to ignore the signal? Stop interacting, you can only waste time beyond this point.

The only problem with this situation here, is that these people are not just somebody, Gavin wants to win these people over, so he cannot just ignore them. But also he cannot do it without a timeout, so he goes to grab some wine. (God it makes me so sorry everytime he has to face his family drama or is misjudged. I just wanna hug him bring him hot cocoa, give him a backrub and bring spicy food for him. Luckily he has MC ^_^)

But let's not talk only about about Gavin, because MC is struggling too. And we should recognize her stick up for him with the most cherishing words:

-Auntie, you got it wrong. He is a decent and pure man and has come to my aid many time and in quite dangerous circumstances.

When she comes back however cannot find Gavin, once she does, a heartwarming moment blooms between them.

This scene is very crucial in Gavin and MC's relationship because this is the first time MC sees Gavin tired and flustered. She feels sad for him but also happy for herself, for she feels as though she gets closer to him, thus seeing the real Gavin. By the way she show him her genuine care, Gavins heart melts and kisses the back of her hand as a gesture and so the first intimate moment involving them having a kiss ensues. Furthermore, they show each other their mutual care, which brings them one step closer and this gives Gavin the only courage he needs to tackle the situation.

When our hero gets the courage and the stamina he need from his girl, nothing can stop him now. Having gatherer his strength, Gavin returns to the dinner table:

“I am so happy to be here with you all today. In fact, I haven't felt this atmosphere of family in a long time. I have a very strict father and a brother I seldom see...I don’t even know when I turned into such a loner. Eating alone, sleeping alone, doing everything alone...until I met her. It was a beautiful autumn day. The gingko leaves were floating in the wind. I was also going through a pretty dark time. But she saved me before I hit bottom...It’s she who told me I could live a stronger life. And it’s also she who told me I could live a more tender life. I never felt lonely before, until I met her. I started to get used to star-gazing with her, having dinner with her, spending the New Year’s with her. In the future, I'll give it my all to stay with her, to take good care of her and love her. I wanna make up many times over for all the times I wasn't there”

MC’s heart stopped, aunties eyes teary, the elder Aunt want his actions to back up these words and thus Gavin has a pass from MC's family. Now that he's won the game, it's time to collect his prize.

After they leave MC's aunt's house, our lovebirds walk together in the night full of fireworks and Gavin tells Mc that Minor has mentored him on being the perfect son-in-law, hence he was late. He also asks her what she would do if he didn't show up, to which she says that her intuition says that he won't fail her and he murmurs quietly:

- I've waited a long time for today.

Of course he doesn't repeats himself when MC asks him about what he just said. But that's what kept him going all night long.

He has waited for six whole years to meet her again, to stand by here, take good care of her and love her. Tonight, he could do them all by being her "boyfriend", giving his word to her family and having their blessings. He could see that she also cares a lot for him, worries about him and wants to be there for him. He landed his lips for the first time on her delicate skin and could give her warmth.

He could finally confess his feelings for her and say the genuine things he will only say to her.

So yes, he has waited for a long time for this moment to come and when it came, he made sure to grab it tightly.

----—----—---

Timeline issues:

- The order of the dates in the game doesn't always reflect the real course of events. The grey suit that Gavin wears is actually bought after Romantic Date, which takes place after this date.

-Even though MC plans this whole game to avert blind dates, but she still gets set up later on a blind date by another aunt lol.

Thank you once again for your patience nonny and I hope that the analysis proves to be worthy of your wait 💗

Masterlist

For MC's confession let me take you here

For Gavin and MCs relationship milestones here

For a fun trivia about this date you can click here

#Meeting the family is important #Gavin preparing for being the perfect son in law #And getting help from Minor #Anon asks #mlqc #mlqc gavin #mlqc bai qi #mlqc haku #mlqc baek gi #mr love queen's choice #koi to producer #Meta #Analysis #Saturday night #Saturday

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lunannex · 4 years ago

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Character Design of Latinos

by a Latina who is tired of y'all not doing your research.

—————

First of all, please keep in mind that I don't speak for anyone but myself. You should never stop at just one source of information, and I would honestly really advise you to listen to other Latinos —especially other Latinos of color— to hear their thoughts and perspectives as well. And second, please remember that Latino is not a race! I can't believe I even have to say this, but the term refers to anyone who is from Latin American or who has Latin American heritage or descent and should never be referenced as a race. Alright, now that that's out of the way, let's dive right into it!

—————

People don't seem to realize that Latinos can come in all shapes, colors and sizes. People like Sofia Vergara and Michael Peña shouldn't be your only source of reference when trying to figure out what you want your character to look like. As I mentioned here, Latinos are diverse not just in our cultures but also in our appearances and, contrary to popular belief, we're not a monolith of people that all look alike. Latin Americans, just like every other ethnic group, have an incredible amount of genetic diversity.

Don't believe me? Just look at all these people:

Now, what do they have in common? They're all Latinos. See how they all have different skin tones, facial structures, hair textures and body types? Yeah, they don't look the same to me.

A character's design can reflect their personality and give the audience a good idea of who they are as people. And just as whatever languages a Latino does or doesn't know shouldn't invalidate their identity, neither should their appearance.

The thing about character design when it comes to marginalized groups is that it goes hand-in-hand with all the stereotypes that are constantly perpetuated.

Why are Afro-Latinos only portrayed as maids, nannies or drug dealers? Why are the Latinos that look like Michael Peña portrayed as violent or lazy? Why are they always the comedic relief, immigrants or people with a lower-class status? Why are the Latinas that look like Sofia Vergara and JLo portrayed as spicy and exotic mistresses? I mean, we obviously know why, but I'm just saying, if that's what you think all Latinos are like then you are in desperate need of a wake up call.

There's this huge misunderstanding of the Latino identity. The misconception that we all have the same tanned skin tone, the same facial structures, body types, hair textures, personalities, etc. when that's...really not the case. Society has taught a lot of people that if our appearances don't fit in with this unrealistic ideal they have of us, our identities are therefore invalidated. And this misconception causes Black, Indigenous and Mixed Latinos to be underrepresented or entirely dismissed in media and society in general more often than not.

I want to add that while white Latinos' identities do get invalidated from time to time as well —I say this because one of my best friends is a white Latino but since he's, well, white, some people don't seem to believe him and just seem to think that he's joking—, it's not nearly to the same extent as the types of Latinos that I mentioned beforehand do. White Latinos still hold a lot of privilege in society despite this.

Also just an important note that you should keep in mind and take into consideration: just because a Latino is white doesn't mean that they don't or can't have features that are more frequently associated with their ethnicity.

It's alright to portray light-skinned Latinos. Like I said, we're very diverse. But you have to question your reason for making the character have that skin color. Remember, you are the creator. You're the one in control of all these decisions and if all of your characters are portrayed as light-skinned people then you really have to take a step back and reevaluate your decisions because that right there sounds a lot like colorism.

When you say you want more Latino representation, you should be referring to all kinds of Latinos. You shouldn't just mean the ones that you and the rest of society consider acceptable. And no, it's not exactly your responsibility to create diverse characters, but if you're preaching about diversity and sitting on your high horse then I sure do hope that you're willing to actually do something about it. Performative activism is harmful and, at the end of the day, does absolutely nothing if you're not willing to put the work into it.

Additionally, don't be afraid of implementing aspects of their culture into their design. Let them be proud of their culture, let them engage in it. However! Please don't take this as an excuse to center their entire personality around their culture. You may think you're doing something when, really, you aren't. You're just feeding into all the harmful stereotypes and not making any actual effort to add real depth to your character (looking at all the people that make celebrating Día de los Muertos, eating tacos, and liking "Gasolina" and "Despacito" their character's only defining personality traits).

Personally, I would love to see more of the following:

• A thin-lipped and curly-haired Latina.

• A Latino with freckles. This one may seem strange but most of the time I just see Latinos with moles, not that there's anything wrong with that (I have a lot of them myself), but it'd be nice to see some variation.

• For a Latina to be considered beautiful without being fetishized and objectified.

• A Latino who doesn't fit the "sexy macho" stereotype to be considered desirable.

• More LGBTQ+ Latinos, especially ones who are POC.

• Black, Indigenous, Asian and Mixed Latinos.

• Disabled Latinos.

• Jewish Latinos.

• Muslim Latinos.

• Latinos with different body types.

• Soft-spoken Latinos.

• Successful Latinos who are well-off.

• Latinos who are allowed to be emotionally vulnerable.

• Latinos with complex storylines and realistic flaws.

• Latinos at the center of the story instead of just existing in the background for the sake of "diversity".

• Just more positive and diverse representation overall.

There's not enough positive portrayals out there of us, and it's exhausting having to sit back and watch as my people get portrayed so negatively. Am I saying that there's no good representation out there for us? No, there absolutely is good representation (ex. In The Heights, On My Block, One Day at a Time, Coco, Miles Morales, Luz Noceda from The Owl House, the Molina family from Julie and the Phantoms, etc.), but that doesn't take away from the fact that a lot of the representation that we have throughout all types of media is, for a lack of better word, bad.

And you can't just say, "Oh, but at least you have representation, can't you be at least a little grateful? Why are you complaining so much?" because you don't get to decide what people are and aren't allowed to be upset about. Despite the positive representation that exists out there, it tends to be overshadowed seeing as a lot of people still view us through this negative lense that they've consistently been told to believe is true when it's really not.

All types of Latinos deserve to be represented in a positive light. So make sure the character you're portraying feels like an actual person as opposed to an offensive one-dimensional caricature because sometimes having bad representation is worse than having no representation at all.

#other latinos are free to add additional info btw!#i'm always a little hesitant to post these types of things but i really do feel like they're things that need to be said #anyway remember to drink your respect latinos juice please and thank you😌🔪💕#luna talks #latino #latine #latino representation #long post #diversity #character advice #writing advice #writing tips #important #also there's a reason as to why i don't personally use the term latinx but that's a topic for another day #i hope this ends up being helpful for some people and that i worded it all correctly lol #writing resources

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meruz · 4 years ago

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Aforementioned long ask post please excuse me while i try to figure out tumblr's new text editor. I’ll get into the art meme questions first and then the rest at the end.

Ok first of all thank you all for sending in questions! Giving me an excuse to talk hehe. I’ll address these in number order. Here’s a link to the ask meme for reference but also I’ll restate the question for ease of reading.

1. When did you get into art?

Super cliche answer but I don’t remember a time where I WASN’T the weird art kid! I started keeping a dedicated sketchbook when I was about 12? But here’s a page from my kindergarten journal about what I want to be when I grow up.

2. What art-related sites have you ever signed up for?

LOL this is a weird question. Not sure why so many people want to know. Anyways I definitely had a dA. more than one dA account. I used to browse oekakis when I was a kid but I think I was only signed up to some small ones that internet friends owned. What else...? Mangabullet,Tegakie, Paintberri, iscribble back when that was a thing, instagram if that COUNTs, I used to post art on livejournal and dreamwidth too. Patreon, I guess. Gumroad, inprnt, bigcartel, storenvy all for selling stuff.

In terms of resources.. I have a schoolism account that I’m sharing with friends. Used to take classes on coursera for free. I signed up to textures.com for work recently haha. I can’t remember if I ever had an account on posemaniacs. Did they have accounts...? I definitely used to visit all the time.

3. Show us your oldest piece of art you have on hand.

Alright here’s me actually logging into my old deviantart account. These are from September 2008 So I was 13 years old. I don’t have a deviantart account from before then because 13 was the required age for having an account and I didn’t want to lie about my age because I wanted people to be impressed by how young yet clearly incredible at art I was LOL.

4. What defines your artistic style?

You guys are probably more equipped to answer this than me but uh... I wanna say... Focus on colors. And... a slightly heavy hand? Like confident... not always well-considered mark making HAH...

Also I think I have a pretty healthy mix of american comics/manga influences. I feel like people who are into american comics always think my art is too manga and people who are into anime/manga always think my art is too american. And I’m taking that as a good sign.

5. Do you practice other styles/have you tried other styles in the past?

I like to think I switch it up a bunch! I mean, these are pretty different, right?

I think I’ve mentioned this before but one thing I really took away from art school is that, for an illustrator at least, art style shouldn’t be consistent. Your greatest weapon is changing the aspects of your style based on the task, the emotions and message you want to illustrate etc. So depending on the project I’m working on, the fandom I’m drawing for, whether I want something to be funny or serious or dramatic, I’ll change things about my style all the time.

One thing I don’t rly post on here is really tight polished work and that’s because I do that for my day job haha. If you’re not paying me... I’m probably not gonna color in the lines.

6. What levels of artistic education have you had?

I have a whole ass diploma LOL. Bachelor of Fine Arts in Illustration. from the Rhode Island School of Design. And I had a great college experience tbh. Besides the student loans. If any of you guys are thinking about art school feel free to e-mail or message me questions or concerns, I’ll be happy to help. Be as honest as I can be.

7. Show us at least one picture you drew or sketched recently that you did not put on a public site.

heres the wandavision kids. Uhh what else do I have...I feel like I’m rummaging for loose change here...

assorted valentines prep doodles

8. What is your favourite piece that you have done?

Well, obviously this is gonna change all the time and generally it’s gonna be my most recent piece LOL. So yeah, why the hell not. I’ll say it’s this one. I have a pretty short memory which I count as a blessing for an artist. I don’t dwell that long on older work and it keeps me moving forward.

10. What do you like most about your art?

I like that it’s something that only I would make! I had this thought fairly recently and I wrote it down in my sketchbook, it’s pretty cheesy and rambling but it felt revolutionary at the time:

So yeah. I like my art best when it’s the most me and for me. And I like it least when it feels like I’m just making something for social media or for other people’s expectations or whatever.

14. What do you like drawing the most?

Kids in baggy clothing are like my go-to LOL idk if that’s obvious. but also I like being challenged so lately I’ve really loved drawing multi-character compositions, environments, weird angles, etc.

oh i LOVE drawing the underside of shoes lol. And bandages. People that are kinda beat up.. I think it comes from getting a bunch of cuts all the time. I’m always patching myself up and I want to patch characters up too.

15. What do you like drawing the least?

mmm I try to find something to like in every drawing but lets see... I don’t like doing commissions of people’s dogs. Just because it’s normally like... a family friend and my mom volunteered me without my consent and I don’t even really know what they’re expecting me to draw and I don’t even get to meet the dog. Also I’m not that great at dog anatomy. Trying to learn though.

18. What is your purpose for drawing?

This could have a million answers! Uhhh to GIT GOOD??? But also to express myself... and also to make money... I mean it depends on what the drawing IS. I draw fanart mostly to connect to people in the fandom so if you ever see me drawing fanart please take it as like an open invitation to talk to me about the character haha.

20. How would you rank your art? (poor, mediocre, good, etc.)

Good!!! I have a lot of self-confidence primarily born out of ignorance and a short attention span. If I don’t think too hard about how many other artists are mindblowingly unfathombly good... its easy to think I’m good too! LOL

In all seriousness though, I think the opinion a person has of their art is like a crazy balancing act, right? Like you have to think you suck enough to want to get better but also you have to think you’re good enough to not want to give up. I think we’re all walking that line, I know I am! But also I’m a glass half-full type of person so. Most of the time I feel good about it.

22. List at least one of your “artspirations.”

This is a good question because I’ve been trying and failing to put together one of those “influence map” memes for like a full month now. What’s giving me a hard time is I feel like none of these are actually really obvious “““influences”““ in my art? Like it’s hard to see a lot of them in the work I make...? But idk maybe you guys’ll see what I can’t.

And these are just a couple! God there’s so many more. I could talk about other artists for ages, from all different genres of art. Daumier, Rockwell like every illustrator out there, Dana Gibson, Alex Toth, Hiroshi Yoshida, a lot of the Brandywine School. Lots of current working artists too, Karl Kerschl, frikkin Masashi Kishimoto lol, Jake Wyatt, Richie Pope, Edouard Caplain, Matt Cook, Sachin Teng, - lots of big internet artists, Sophie Li, Freddy Carrasco, Milliofish, Angela Sung... like all my friends from art school too. I could just keep going but I’ll stop for now lol.

24. Do you have a shameful art past? (recolour sprite comics, tracing art, etc.)

I mean if that’s how we’re defining shameful?? sure LOL. It’s not sprite comics but I used to do pokemon sprite recolors all the time. And I used to trace manga panels and color them... Granted this was all when I was like under 12 yrs old so it’s not even embarrassing. Can you really call it shameful when a 7 year old wets the bed or whatever? Not really. In fact some of these are cool as fuck. Look

25. Draw a picture!

Man I’m so tired now but here.

I used to get a lot of compliments for drawing people smiling lol but I don’t think I’ve drawn a lot of smiling lately.. here’s proof I’ve still got it.

OK MEME DONE. onto the rest.

I read this ask first thing when i opened my computer in the morning and it made me really emotional.. I’m so glad my sketches could help you!!

I think a lot of artists on social media talk about the struggle of making art but imo not enough people talk about the joy! Like I know it’s corny but. I really meant what I said at the beginning of that sketchbook about re-contextualizing art around process and progress > product and perfection. I think its super important..! The strength of messy, unfinished, and energetic art! For the feeling of it, for the love it!

That's crazy!!! I hope you like 'em. The whole line of x-books is really good rn imo.

Hi! I totally have the answer for digital stuff on my faq lol. But in terms of drawing on paper.. it varies! I tend to use sketchbooking and any on-paper doodling I do as a way to loosen up/warm-up or experiment. But right now my go-to aresenal is:

from top > bottom

- kuretake no.55 doublesided brush pen

- tombow fudenosuke

- muji 0.38 ballpoint

- medium size poscas

- grey tombow double brush pens

- good ol bic mechanical pencil

not EXACTly sure which inking you referring to from my sketchbook but if I had to take a guess it'd probably be the kuretake no55. That's been my main inker, lately. Great for sketching with the thin end too.

You can print out and eat my art if you like. Just please don't mass produce or re-sell. <3

Thanks! I've come to accept that my art is always gonna be sort of gestural and painty naturally. It's getting it to tighten up enough to be legible that's hard lol...

uh yeah lol I agree actually. I think yolei is great.

I assume these asks are related? LOL

1) Yeah totally true. I love David.

2) I don’t take requests, sorry! But if you want to commission me to draw Legion i would be MORE than happy to. Just e-mail me at [email protected].

<33333333333333333333333333

#ask #anonymous

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weaverofthreads · 4 years ago

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On the process of writing a novel...

Ok, so this began as a DM to a very dear friend who had said they were super excited to work on a novel of theirs that they'd abandoned for years, but they felt a bit lost when looking at the project again. They had "too many characters, too many intrigues" and they didn't "know how to create order" for all their ideas. They didn't know "what to keep, what to remove, what to change" and wanted to know if I had any tips.

I began to reply in messages and then realised I needed to make a whole post out of it, so here it is! All 3k words of it. This is for you, darling! I hope it helps.

Things I found extremely helpful when planning my novel for NaNoWriMo this year, after also taking some time off from it.

Most of this comes from Alicia Lidwina’s Four-Part article on her NaNoWriMo prep process, and setting up a writer’s notebook, for 2018. You can find the link to the first part here and I highly recommend you check out the whole series of articles for a more in-depth read.

Content of this ‘essay’:

Preparation, Groundwork, and Materials

Project 'Stats' & Overview

Mood, Moodboards, and Key Imagery

Things to Consider, and Important Bullet Points

Get to Know Your Characters

Chronological Order

Tangential and Preceding Events

Basic Premise, Plot Definition, Sub Plot Ideas

List of Locations

Scenes

Chapter Outline

NaNo Plan

Additional Notes and Tips for Writing

Ok. Let's begin.

First of all, I'm not saying that this is the only way to write or organise a novel. It can be tackled in as many ways as there are writers in the universe. This is just the method I used to get my ideas crystallised and organised.

Preparation, Groundwork, and Materials.

Take your preparation seriously. I bought a cheap but still nice A4 sketchbook with blank paper for maybe £2 at the local hobby store, and used it solely for the purposes of being my Novel Notebook. It doesn’t have to be a pretty, perfect, Aesthetic(TM) journal at all. Its function is to act as a route-guide through the process.

I bought a cute sticker from Etsy and used it as the front cover design so that I liked the book and that it felt a little bit special, without being too intimidating to put a mark in. Then I left the very first page blank, and opened it to the first double page. On the left, I wrote ‘Contents’ and then moved on to the right and wrote ‘Project Stats and Overview’.

I used a pen that was comfortable to write with, which for me was important. I’m a very tactile person, and having nice paper and pens (not necessarily fancy), made the process feel good.

Project Stats and Overview

This is the bare bones of the book, and includes details such as:

Project Working Title: (in my case it’s Weaver of Threads)

Targeted Wordcount: (to give yourself an idea of the scope, but it’s not necessary. For me it’s 50-100k)

Genre: (for me, fantasy)

Series: (will it be one book or more? For me, probably more than one, and at least two).

Inspiration: (here you can jot down all sorts of things which inspire your world and your writing, and it can be anything. In my case, I began with “density and lore, and feeling of being grounded in a real world from LOTR and Tolkien.” And I went on to include other writers and novels in the fantasy genre, as well as elements from our own world, such as Mongolian herding communities and way of life, the history of the Persian Empire, and Renaissance Florence!).

Project Timeline: Give yourself a structure, and be realistic. If you know you’re a slow writer who’s prone to distractions, be generous, but if you’re someone who responds well to short deadlines, tighten the time frame up a bit. I said “November 2020 - November 2021 for the whole manuscript” because I know I’m a procrastinator who gets dejected if they shoot past intense deadlines….

Editing Deadline: December 2021-January 2022. I know I can edit fairly quickly, so I made this one much shorter.

Main Requirements Prior to Starting: What do you need to get sorted before you can get going? It could be purchasing a laptop or figuring out a magic system. In my case, it was the latter.

What Happens in your novel?: This is not ‘what do your characters do?’, but what, in one sentence, actually happens in the book. For Fellowship of the Ring, you could say ‘a diverse group of people assemble and set off together with the goal of destroying the Ring’. LOADS more stuff actually takes place, obviously, but that’s probably the key thing that happens in that book. So, write the same thing for yours. I’m not going to tell you what happens in mine, because that would spoil it :).

That took up the first A4 page of my writer’s notebook, and after that, I moved on to Mood and Key Imagery.

Mood, Moodboards, and Key Imagery

On the left hand side of the page, I wrote down the words and concepts that sprang to mind when I thought of the novel itself. These were in no particular order or placement — just a random cloud of ideas in a rough column on the left hand side of the page — and they included: history, mystery, love, friendship, betrayal, nostalgic, homesick, sense of belonging, sense of place, searching, closeness, secrets… etc. etc.

Then on the right hand side, I wrote down five key words that I wanted to associate with the novel. These would form the ‘visual aesthetic’ in the background of my mind, and could be very easily expressed with a moodboard.

This same process (writing down words and creating a moodboard) could be achieved on a website like Pinterest. Take your time with it, find the right visual clues that really match the essence of your story, and create a final mood board with a limited number of panels that will be your novel’s ‘true north’ when it comes to feelings. If you're artistically inclined too, you could draw sketches of things relevant to your world too.

While this stage is really important for solidifying the feeling and mood of the novel, don’t get stuck here and spend forever procrastinating on Pinterest or whatever. Once you’ve crystallised that ambiance, it’s time to move on. It’s also perfectly fine to come back to this at a later stage if you find yourself running out of inspiration or drifting a bit. Daydreaming, drawing, mood-board-ing are all great ways to work on your novel on days when you don’t feel like writing.

Things to Consider:

Alicia Lidwina asked herself some questions which helped me get past the ‘block’ that I’d created when thinking about the novel, and those were:

What scares me about this story? (in my case it was the scope of it - it was easy for me to get lost in over-thinking tiny details and get too overwhelmed to handle the big picture)

What will readers take away from it? (in my case, I hoped that it was a sense of friendship, people from desperate cultures finding common ground, and a sense of being grounded in a real, tangible world.

What is its selling point? (essentially, why would an agent/publisher choose yours over the next one in the pile?). Don’t be bashful about this. This is your notebook, so if you’re proud of a feature or aspect of the story, write it down. In my case, there is no ‘Big Bad come to destroy the world’, no Chosen One who is the only one who can stop it. There is an antagonist, but it’s on a personal scale, and that’s the selling point. It’s about two people going on a personal journey to uncover a lost piece of knowledge that’s arguably not all that world-changing on its own, but which means the world to them.

What will be the three biggest issues in writing the first draft? Identify the three biggest roadblocks, and then take a bulldozer to them. For me, it was time management, getting mentally stuck, and the sheer darned effort of it becoming overwhelming!

Important Bullet Points

These are five key facts about your novel, distilled from the sections above. They include: What’s at the heart of the story? How long is the story? What’s the narrative focus of the story? What are the maximum number of main characters? And the maximum number of supporting characters (this obviously doesn’t mean you can’t have other, less important characters too!)?

Relationship between the two main characters is forefront

50-100k words

The novel’s focus is on the characters’ main goal (had to be more vague here so I didn't give it away)

2 main characters

3 supporting characters

If you find you’ve got too many main characters (not necessarily a bad thing to have a lot of characters - look at A Song of Ice and Fire after all!), then figure out whose story you want to tell here. You can always write another story with other characters in a connected novel, or a sequel. You don’t have to tell everything all at the same time.

Speaking of characters…

…Get to Know Your Main Characters:

Here you can write character sheets for each of your main characters and cast. There are hundreds of these templates available on the internet, asking questions like ‘how would your character react to [insert event]?’ etc. to get to know your character. If this isn’t your thing (it isn’t mine) then at least write down some useful information about them. Rough height and weight, hair, eye and skin colour, general temperament, and any other defining physical or mental traits.

Next came the Chronological Order

This does not have to represent the final order of the novel’s structure, nor the order in which you write the manuscript, but you need to know what happened within the timeline, and when, in order to be really clear when you’re telling the story. You can write the manuscript out of order, and you can tell the story with flashbacks or in a different order, but you need to have the underlying chronology securely in place so that your writing makes sense and so that you don’t confuse yourself or the readers in the process.

Preceding and Tangential Events

These don’t need to be in the novel itself, but it may be important to define the sequence of events that also led up to the moment where we pick up your story, and what is happening elsewhere so that you can be sure of these too. In my case, I defined the events that concerned one of the supporting characters’ lives so that I knew how and why they were at the point they are in the story. It relates directly to - and heavily influences - the events of the novel, so I needed to have this person’s history nailed down as well, even though I don't tell it all explicitly in the book (because that would be unnecessary and a bit dull).

Basic Premise, Plot Definition, and Sub-Plot Ideas (plus writing a synopsis)

Alicia Lidwina defined the story premise helpfully with the following formula:

Story Premise = Main Character + Desire + Obstacle

Pick a different colour for each of these components, and write a short paragraph to explain them in the context of the novel. Alicia Lidwina used the following:

[Main Character] “Harry, an orphan who didn’t know that he’s a wizard, [Desire] got invited into Hogwarts School of Witchcraft and Wizardry and wanted to live his school life to its fullest, [Obstacle] but a certain Dark Lord who killed his parents is trying to rise into powers again and kill him in revenge.

Do this for your novel, and keep it really short.

Plot Definition: This is even shorter than that! It’s a single sentence!! It’s most closely tied to the desire of the character, and lies at the heart of the story. It’s most likely a distilled version of the ‘what happens in the story’ from the Project Stats page, so check that to see what you wrote there.

Sub Plot Ideas

Five bullet points (no more) for things that are happening concurrently and which are related in some way to the main story. For me, Kae and Tomas are doing their research, so that’s the main theme, but beneath that there are a few other related incidents.

Writing a Synopsis - developed out of the points in this section, and includes:

Who the main character is

What the stakes are (the story premise is your guideline)

What the main plot line is

How the MC resolves the problem in the main plot line

How the book ends.

List of Locations

Start with the main ones and add to it as you go on. Write a little bit of information about them so that you have something to refer back to. I also drew a big old map which I found very helpful and also really fun to do.

List of Scenes

It’s very important to map out every single scene that happens in the novel. Use your timeline to help with this, but remember a scene is not necessarily a chapter. You can have more than one scene within a chapter, but try not to have too many.

I used small post-it notes (sticky notes) and wrote down things like “M joins K’s clan at the fire and K learns about magic” and “K studies at Citadel, intro to Citadel, magic, and characters” as separate scenes. Once you’ve written down everything that is going to happen (this will take some time! Get a drink and some snacks ready, and go slow), you can stick them into your notebook in the order you’d like to tell the story. Some chapters may have just one scene, while others may have two or three. I didn’t have more than two in any of my chapters, and actually ended up splitting some scenes that I’d made too vague in this section into more chapters. It doesn’t have to be set in stone, but it will form a road map.

Additions and Notes:

I left a section of the Scene Outline bit of the notebook blank for things to add in as I went along. I haven’t used it yet, but I might.

Chapter Outline

I arranged the scenes into the chapters already by sticking them in order, but you could do a chapter outline separately after this. It’s up to you.

NaNoWriMo plan:

I did this back in October, and wrote down the main goal for nanoprep, which was to finish the background info. Breaking that down further, I listed - magic (how does it work exactly), geography, and politics.

After that, it was just a case of writing the 1667 words a day. *spoilers, I got distracted and didn’t do NaNo this year* . What I should have done, was break it up into chunks and write down my goals so that I had something tangible to use as a road map, and I will be doing that now for the novel as I take it up again outside of NaNo. Having check boxes and manageable goals really works for me. Find what will work for you, and if it turns out not to, adapt!

Some final pointers and tips:

Set regular goals for yourself. Whether you work by saying ‘I’ll write 1000 words a day’ or ‘I’ll write something every day’, make a structure for yourself. If you slip and miss a day, week, or month (I didn’t meet NaNo this year because I chose to work on another project instead *slaps forehead*), don’t beat yourself up. Writing is a craft and it takes a long time and a lot of discipline to master a craft.

Your first draft does not have to be good. At all. Your first draft is just words on paper. A first draft is the block of marble taken from the quarry, and subsequent edits and reworking is the process of carving the sculpture itself. The editing that is done by the publisher or the professional you employ to edit it for you later, is the final polishing. Don’t be demoralised if the block of marble seems very rough when it first lands in your studio. That’s ok!

Take regular breaks. Writing is hard work, and most people can��t concentrate on something successfully for longer than 55 min's, and if you’re doing that, you’re already doing really well. Personally, I’m at 15-20 on a good day. Write in little sprints of ten minutes or so, and then get up and stretch, look out the window, maybe leave the room, come back in with a fresh approach.

Stretch your hands, and wear wrist braces when you work. Seriously. I gave myself tendinitis on my first major project, and couldn’t use either hand properly for weeks. The ones I have are these, and they allow me to work safely for much longer.

Keep hydrated. Have a bottle of water on the desk in front of you between your arms as you type and sip it, otherwise you’ll forget. 2 litres a day is usually recommended, but know your body and drink accordingly.

Treat yourself. Whether that’s something as simple as a decadent hot chocolate after your first chapter/chunk/sprint is done, or a new notebook or a pen or that sticker set you wanted on Etsy or literally anything nice, reward yourself for the hard work you’ve put in, with tangible things you can look at or experience and say ‘I have that because I did the work’. It’ll help with your sense of achievement, especially if the project is a long one.

Join a local writer’s group for feedback. With the current Covid-19 chaos, this is probably not possible right now, but getting constructive feedback on your work from someone who hasn’t been cocooned in the project in the way you are, but who respects you as a writer and wants to help you grow, will be invaluable. It’s too easy to exist in a little isolated bubble and think you’re doing ok, when in reality you could be creating bad habits which will be difficult to break later. By these, I mean things like ‘filler words’ you don’t realise you use, or other pit-falls it’s easy to tumble into when you can’t see the wood for the trees…It’s intimidating, and it might take some courage to work up and do, but I promise it’ll help you grow. You don’t have to do what the people suggest, but it’s great to get outside opinions all the same.

Submit work to writing competitions. This will help with showing agents and publishers later down the line that you’re not only committed, but hopefully talented, and will help you to push yourself. Use the world of your novel for the setting, and get to know it by writing short stories on the competition’s theme set there.

Read. Read the writers you admire, and read them ‘actively’ - figure out exactly what it is about ‘that’ sentence that made you shiver, and use the same techniques in your own work (don’t plagiarise, obviously, but if it was alliteration that made the sentence work so well, use it yourself! Perhaps it was the metre of the line? Great, now you know a rhythm that will drive a sentence forward or slow it down etc.)

Enjoy it. If you’re not enjoying what you’re doing, it’ll show in the work. Take a step back if you start floundering, and ‘interview’ yourself about why it’s not fun any more. Refer back to the sections in the notebook that helped to clarify the plot/process, and see if you’ve wandered away from them. Make yourself answer questions like: ‘What is the main reason I don’t want to do this?’ ‘What is the character’s motivation?’ ‘Should I scrap this section?’ (don’t delete it, but cut and paste it into another ‘scraps’ document, and then start afresh from the last place you were happy with. Nothing is wasted - it all goes into building the world and getting to know the characters, even if it doesn’t get explicitly told in the finished product, so don’t be afraid to do that last bit).

Good luck!

I hope you found this helpful, and if you have any questions or things you’d like to add to this, please feel free to send me an ask here on Tumblr.

If you’re a new writer hoping to get an agent or publisher, you might also find this post on ‘talking to a published author’ helpful or interesting.

If you would like to keep up to date with my own novel’s progress, you can follow me here on Tumblr, as well as on my writing Instagram @rnpeacock

#writing #writeblr #writing process #how to write a novel #novel writing #nanowrimo #national novel writing month #writing a book #writing advice #author #authors on tumblr #how to structure a book #long post

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davidmann95 · 4 years ago

Note

So you've talked a lot about Darkseid, but what about the other New Gods?

SO THIS HAS BEEN IN MY INBOX FOR ALMOST AS LONG AS THIS BLOG’S BEEN AROUND AND I JUST FINALLY FINISHED FOURTH WORLD

Well that sure was something. My musings on some major players that I either have substantial thoughts on, or where I especially think the majority consensus/interpretation has subsequently gotten them wrong (a state Kirby is well aware of, because a HUGE part of “Even Gods Can Die!” is him being frustrated at subsequent handlings of the characters even by 1984 mucking things up):

Orion: Perhaps the most hard-done by as a result of Kirby never being able to fully finish Fourth World as he had imagined it, as his character arc ends on a cliffhanger for a decade and is forced into a rapid completion later. When he emerges, while a warrior born he’s also every bit the classical, magnificent hero you expect to see in a superhero comic to try and overshadow his inner demons, while by the end of New Gods he’s embraced not only his true face (the OTHER face, as his father would put it) in the fight against Apokolips but the murderous, sadistic rage that is his birthright, reveling in inflicting agony and very much the berserker others have since portrayed him as. Surely as much a product of his trauma from a childhood on Apokolips (a detail frequently glossed over) and a sense of being unwanted as anything genetic, it’s ultimately unconditional love for him as he truly is in Hunger Dogs that lets him overcome his fear that he can’t be anything but a monstrous tool in service of better people than himself, and embrace ‘the tomorrow overture’. Even his anger has its righteous if tragic place as a primal force of upheaval: “It defies time! It stands firm against the hammers of change! It mocks life and defies death!” I won’t get to it for awhile yet, but very curious what Simonson does with him.

Lightray: Rules! He’s the closest the New Gods have to a traditional superhero, and it’s in that capacity that while a lousy warrior next to Orion (Kalibak thinks little of his attempt at fighting him, mockingly deeming him a “callow little killer”), his strength is in transformation: he makes himself light, he turns a tormented weapon into the glory boat, a machine armed against the New Gods into a weapon against Darkseid, Orion from a man alone into a friend. He’s not a warrior, but he’s the one who makes a better world worth waging war for and who might one day make such war unnecessary. Also he and Orion have definitely fucked.

Mister Miracle: Not WILDLY off the mark since, but it’s interesting that as I expect a result of JLI he’s been written so often since as an everymanish, relatable, bordering-on-comedic figure, when under Kirby he was very much the archetypal good guy. One often committed to freeing others as he had been freed himself, in the likes of Ted Brown and Shilo Norman, an avenue I’m surprised hasn’t been explored more often from what I’ve seen. Also worth noting: Darkseid declared the moment he got his hands on the kid that Granny would be twice as hard on him as others, and that it would eventually drive the boy away and let the war resume. Which not only indicates Darkseid’s understanding of the subtlety needed in control, but would seem to take Scott’s rebellion out of his own hands…except that at the moment of his escape Darkseid still offered him a choice, implored the boy to allow him to “complete the destruction of Scott Free – so you may live with the majesty that is the power of DARKSEID!” And instead he turned his back on his god and chose to be what he is.

Barda: Shockingly, great as she’s been since, her background is often severely mischaracterized. The shorthand is “love saved her and turned her from a servant of evil to a champion of good!”, but that’s…while not entirely wrong, a bad way of presenting it. When she leaves Apokolips initially, even after she starts hanging out with Scott Free and Oberson after having helped the former escape years earlier, she still believes in Darkseid. She fights and hates her former allies not because she’s turned against his vision of the universe (this is in fact a major aspect often overlooked - under Kirby Darkseid’s agents don’t simply fear him, they sincerely believe in him and his vision of how the universe works) but because she sees them as loathsome, brutish executors of his grand design. In short, she doesn’t think it’s the system that’s the problem, but a bunch of bad apples. It’s her experience with freedom and simple pleasures and life on Earth, her lingering guilt over the death of her friend Auralie as eventually manifested in her protection and training of Shiloh Norman, and yes, her eventual realized love for Scott, that brings her around to realizing she truly desires a life beyond what Darkseid can offer.

Forever People: Okay I actually don’t have a ton to say about the Forever People, though I do think they’re underrated and underutilized. Naive and in over their heads as the frequently are they’re also the best of their peers, believing in freedom and transformation and the potential of those around them to become better - their defining moment for me is when they reassure Sonny Sumo that having the power of the Anti-Life Equation doesn’t make him a monster. “Where we come from the Anti-Life Equation is one of many others–almost as awesome!! But they merely exist!! It’s we who live!!”

Metron: The big figure I haven’t really been able to crack. Machinery as not necessarily cold mechanization but extensions of ourselves and our souls, and able to nourish them in turn, is a big aspect of Fourth World, but Metron as the embodiment of mechanization and knowledge feels like not just an outsider as he’s framed but one who never quite became whatever Kirby had in mind for him, making his crucial role at the end of Hunger Dogs a bit of a non-sequitur for me. I’d be curious to hear what other people think.

Desaad: God Desaad’s been made boring. Not that he isn’t fairly one-dimensional under Kirby too, but his craft and awful glee as the god of torture isn’t just in strapping people to tables and poking them with unpleasant tools, it’s in manipulating their emotions and agonies to a fever pitch - he should be such an unsettling figure, and instead he’s a simpering helpless toady.

Highfather: Not a perfect figure, given how he’s framed with the likes of Fastbak, and the Forever People, and the Pact, willing to deploy fear as a weapon in the name of peace as Darkseid will use chaos in the name of a larger order, but always trying - as with Darkseid, an imperfect vessel of what he represents, but capable of growth and realization as a leader.

Steppenwolf/Heggra: Essential to understanding The Pact, they’re the old ways of the world and war, petty despots and warrior-kings, supplanted by fascism in Darkseid.

Darkseid: So I’ve discussed Darkseid before in terms of his broad use and ideas, but the very specific ways Kirby presented him have their own dimensions. In the world of superheroes he’s larger-than-life and often such in here too, but in rare moments, and by the end entirely as all artifice is stripped away? Kirby’s Darkseid is a profoundly human figure. He recognizes the irony that the Forever People believe in letting all be who they are, for that very need to fulfill himself is why he must pursue conquest (“And of course - that’s the pity of it!”). While he thinks to himself “Oh, how heroes LOVE to flaunt their nobility in the face of death! Yet THEY know better than most that war is but the COLD game of the BUTCHER!” he too believes in “Boldness! Risk! The raw meat of existence!” even as he consigns himself to the role of puppetmaster rather than warrior. He does or so he tells himself “no more than what HAS to be done!!” rather than indulging in cruelty for its own sake. He dresses up in ridiculous costumes for his schemes, he gets sarcastic, he recognizes honor and respects worthy foes, he feels love, he craves the laughter of a friend, he fears the obsolesce of his preferred way of doing things, he tells himself that should he achieve omnipotence others will find “eternal shelter”. He’s a person, one capable of a range of emotions, but he is the TIGER FORCE AT THE CORE OF ALL THINGS regardless…not because he is a mythic unstoppable force, but because every day he rises and believes in himself over all others, because there is a black hole within him that he can only hope dominance might fill regardless of what pain he finds in the process. But as Mister Miracle’s battle with the Lump foretold, when left truly alone over a world that is himself he will be only within “a self-made prison”, reflections of his own fear and agony.

#New Gods #Fourth World #Kirby #Orion #Lightray #Mister Miracle #Barda #Forever People #Metron #Desaad #Highfather #Darkseid #Opinion

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gaming · 5 years ago

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Indie Game Spotlight: Plaything

This week’s Indie Game Spotlight is a reminder to lead with kindness. Plaything is a joyful and intimate game about your relationship to a small being crafted by your fingertips. In a series of personal and touching vignettes, you learn to live alongside each other. With a loving blend of hand-made animation and unfolding generative art, Plaything is a moving experience you can hold in your hands and close to your heart. We spoke with Niall Tessier-Lavigne and Will Anderson, who are both from the Highlands of Scotland. Niall has a background in games and animation, Will in animation and film. They’re co-designers on the game, which involves things like figuring out the visual direction, narrative design, and gameplay decisions. Read on!

What was the main inspiration for the game?

A lot of the ideas behind Plaything came from our desire to make something with kindness at its core. We were both thinking about our own relationships to technology and wanted to make something that’s very careful with its dynamics of dependency.

Niall: I was definitely inspired by seeing Will’s short film, Have Heart, which is what lead me to approach him in the first place. I find the ideas in it about work, love, and digital media really affecting.

Aside from that, I’d been thinking a lot about gardening games, kinda prompted by Max Kreminski’s gardening games zine; games that can have an element of nurture and care, without feeling like heavy systems. I’d also had other people’s words about empathy and games rolling around my head for a while—writing by Lana Polansky, Emilie Reed, thecatamites, Paolo Pedercini, to name a few.

Will: When I was younger, I was pretty obsessed with Tamagotchis. I had LOTS of them. The idea of nurturing something that isn’t real always fascinated me. On the surface, it feels trivial, but on closer inspection, being affected by something artistic in our lives is pretty crucial for our wellbeing. So that, along with very human character animation, is a source of inspiration.

What was it like, coming together from game development and film making backgrounds?

Early on, we did a lot of talking before figuring out what any aspects of the game would look like, or what the gameplay would consist of. We tend to approach things in quite a filmic way—jotting down possible moments and feelings, script-writing, doing rough animatics, sort of translating this into something less fixed, and more interactive. We love working with rough-cut trailers and animations of possible playthroughs set to music, as a way of thinking through the arc and tone of Plaything.

What are some ways you can create and customize the small creature?

You pull softly fizzing shapes into the center of space, loosely assembling the creature’s form. There’s a degree of control, but a big part of the design is how loose and gestural this action feels. You don’t have too much control over the final assembled form of your Plaything in the same way you don’t get to control how it behaves or feels towards you. Part of the experience of playing is mapping out how you act together, defining those hazy spaces at the edges of your relationship.

What other features does the game include?

Niall: All the features you know and love from your friends and family.

Will: Eyes, ears, mouths, arms & legs.

What do you hope players will take away from the game?

If we can give you something to waste your time with, in a way that feels genuinely meaningful, we’d be very happy. We hope to stir something up in the cold embers of our collective hearts.

Want to learn more about Plaything? Then sign up to the mailing list to very occasionally receive behind-the-scenes bits and pieces, along with news about the game’s release.

#Plaything #Indie Game Spotlight

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bestworstcase · 4 years ago

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my most controversial tangled opinion is that the sundrop/moonstone lore isn’t confusing, it’s just a soft magical system in a story that wanted a harder one.

what i mean by this is: there are zero theoretical limits on the powers of the sundrop and moonstone, but their actual established powers are nebulous and controlled by vague concepts (“faith” and “feelings”) without any hard explanation. this works as long as the magic is a mysterious quest object and its actual use is largely incidental, but once cass takes the moonstone, the magic becomes a central component of the plot and the system fails.

for those unfamiliar with the soft/hard magical system distinction, in the most general terms, a hard magical system is explained—it has defined rules and limitations so the audience can understand How It Works—while a soft magical system isn’t. neither is better than the other per se, but which type works best for a given story depends a lot on how the magic is used in the plot.

to give an example, bending in avatar: the last airbender falls into the “hard” category. bending is a martial art with a strong spiritual component; there are four types of bending, each tied to one of the four nations; with one exception, benders can only bend a single element, and the exception is explained and given his own set of rules, like the requirement that he must learn the four types of bending in a particular order. even the last-minute introduction of a fifth type bending is logical within the context of the universe: humans learned the other four types of bending from powerful magical creatures, so the lion-turtle’s ability to gift energy bending to aang follows the established rule for how humans acquired bending abilities in the first place; and aang himself has long been established as valuing and prioritizing the spiritual aspect of being the avatar, so it makes sense that when he entreats the spirits for a way to defeat ozai without killing him, the spirits basically go “sure, here.”

and of course, we the audience need to understand these rules, because bending is integral to the plot and to the way characters solve problems. if the characters in atla were constantly pulling new powers out of their butts to deal with the problem of the week, would that be as satisfying a story? characters do discover new powers (katara’s healing, toph’s metalbending, iroh’s lightning redirection, hama’s bloodbending), but when that happens the series is quick to establish how those powers fit within the framework of what we already know. we see this happen in fanworks too, because the audience understands the underlying mechanics and we can extrapolate new powers that fit within the defined rules, eg: could a sufficiently skilled and motivated firebender manipulate the electrical signals of the brain? taking control of a pre-existing electrical discharge and manipulating elements inside the human body are both possible, so i don’t see why not.

now back to rta.

the magical system in the series is very soft. for the purpose of this discussion, we’re going to focus on the sundrop, moonstone, and zhan tiri, because those are the core pillars of the magical system—the assortment of enchanted artifacts that pop up are sort of tangential and irrelevant here.

let’s start with what we know.

the sundrop and moonstone are two halves of an ancient cosmic power (hereafter ACP). the ACP was destroyed by an unknown calamity, the two drops fell to the earth, and they have been longing to reunite ever since.

whether this “longing” implies a degree of sapience or if it’s simply an attractive force like a pair of magnets is never specified, but based on the way the two forces behave i think the magnets explanation makes more sense.

the sundrop and moonstone are said to be inverses of each other. the sundrop heals, the moonstone harms. simple enough.

...but the moonstone also has a secondary protective ability, which it gifts to rapunzel in the form of her unbreakable hair. and the moonstone has the black rocks, which seem to exhibit both the destructive and protective/invulnerable facets of the moonstone’s power.

and the the sundrop also has a secondary destructive ability in that it. explodes.

so...

sundrop heals ↔ moonstone harms sundrop destroys ↔ moonstone protects

now this internally contradictory set of powers for the drops does make sense when you remember that they were originally just one thing. the ACP was theorized to have basically unlimited powers of destruction and creation, so it makes sense for its two halves to exhibit that duality within themselves as well.

if we consider the wording of the four incantations (and the events of BVA), we can kind of get a sense of what else the drops might be able to do:

i think there’s a strong argument to be made for understanding the healing/decaying capabilities of the drops as temporal manipulation. the sundrop doesn’t “heal” so much as it reverses time so it’s like the damage never happened (“make the clock reverse!”)—which incidentally would explain how gothel stayed fertile for two thousand years a lot better than “healing”—and the moonstone’s decay does the same but in reverse, so fast forwarding rather than rewinding.

they both alter/manipulate fate (“change the fates’ design”/“end this destiny”). this may be a metaphorical reference to the temporal manipulation thing, or it could be that the tangled universe truly is deterministic and the drops powerful enough to literally change fate.

a case can be made for a third dichotomy of sundrop faith ↔ moonstone will. by which i mean that the sundrop runs on belief/faith while the moonstone runs on feelings/willpower. the sun incantation focuses on hope (“and let our hope ignite”) and eugene having faith in rapunzel in LAF is what allows her to activate the sundrop nuke even without the incantation. meanwhile, the moon incantation focuses on willpower (“bend it to my will”) and in BVA, the moonstone is shown to react intensely to cassandra’s feelings and is also able to manipulate the feelings of other people (meaning that, presumably, the sundrop could also inspire faith).

...but notice, here, how much of this is postulation. very little of this is explicit textual information; instead, i’m drawing connections between the lore given in LAF and the things that we see the sundrop/moonstone do on screen in an attempt to line up what we see with the loose, vague framework of “two halves of a broken whole that are opposites/complements of each other.”

and i really think this is what people mean when they say the sundrop/moonstone lore is “confusing.” unlike in a hard magical system like atla, the series dedicates no time to explaining how it all works. it’s just There, and while we can make some extrapolations based on what we see, it’s not really a system that is meant to hang together in a coherent, rules-based way. and—unpopular opinion—that is FINE. hard systems are not innately better than soft systems.

do i personally have a preference for hard systems? yes. are hard systems in vogue in modern fantasy? also yes. does that make soft systems inferior to hard systems? no. can i suspend my disbelief enough to enjoy a fantasy story with a soft system? absolutely, yes, though no force on earth can stop me from picking over it with a fine-toothed comb to develop a personal theory on how it all works, or from breaking it down into its component parts and then building a hard system from scratch for my own fanworks like i did with bitter snow.

but—the key thing is—it’s not confusing if you go into it with the understanding that the magical system is soft. the nebulous vague what you see is what you get thing is a feature, not a bug.

the same goes for zhan tiri. i’ve already expounded at great length about her canon lore and i’m not going to get into it again, but suffice it to say: she’s some sort of powerful ancient shapeshifting demon with nature-based magic, a side helping of dream/mind-based magic, and a penchant for deceit and manipulation. and again, the underlying mechanics of any of this are not explored, because rta has a soft magical system.

but farran, you said rta needed a harder system, so why are you now saying that soft magical systems aren’t bad?

i did say that, yes, but it’s not because soft systems are bad. it’s because soft and hard systems are different tools used to accomplish different things, and rta as a series tells a story that, ultimately, would have been better served by a hard system rather than a soft one.

let’s start with cassandra’s control over the moonstone. in RR, she uses its powers instinctively and effortlessly. then, she loses that ability, and zhan tiri tells her that it’s because she needs to focus on her rage because that’s what the moonstone responds to (this is an obvious lie ziti uses to get cass to wallow in her anger, but the basic principle that the moonstone responds to emotion appears to be sound). and then, in BVA, cassandra’s fear about attacking rapunzel causes her to spontaneously manifest a completely new ability that sends magical fear-empathy rocks all the way to corona where they start giving people nightmare visions and petrifying them.

that’s huge! we had no idea the moonstone could do something like that. but then they go away and cass never uses them again. why? who knows!

next, zhan tiri (off screen -_-) evidently tells cass that it’s not actually a matter of trying harder to master the moonstone’s power, she needs to use the moon incantation to unlock it. this is inconsistent with what we’ve seen before (RR and BVA proved that she could access the full range of the moonstone’s power, she just doesn’t know how), and could be explained by zhan tiri lying again... except that when cass recites the incantation it works as-advertised.

and “mastering the moonstone’s power” turns out to be... black rocks and lightning, but bigger and more elaborate. that’s it. there’s no expansion on the withering incantation, or the empathy-rocks or petrification abilities introduced in BVA, it’s just black rocks and a light show. and black rocks shaped like dogs that one time in plus est.

the same thing happens with the sundrop. it glows and it blows things up and it heals things and that is all it does. it just does it... bigger, and flashier, after rapunzel recites the sun incantation.

and when zhan tiri acquires both of the drops, something that we are told grants her the (undefined) “ultimate power,” she... uses them to make rocks, but they’re golden now. what do the golden rocks do? who knows! and she uses the decay incantation, which works exactly as it did when rapunzel used it except faster and bigger and not uncontrolled.

and then she’s beaten by whacking her over the head with a frying pan and tricking her into clapping her hands together, which blows her up. and then rapunzel takes the unified drop and revives cass everyone before letting it fly off into space. yay!

but... do you see the problem here? why so many people felt so dissatisfied with the lore surrounding the drops and zhan tiri in season three? people say it’s “confusing,” but i think that describes a symptom, not the root of the problem. a good, well-utilized soft magical system doesn’t cause confusion; it blends into the story and doesn’t call attention to itself. it’s like... lighting. it’s just there and it just works and it enriches the story but we don’t question it.

whereas a hard magical system is an actual component of the narrative, almost like a character in its own right in the sense that we understand what makes it tick. there are rules, and we understand the rules, and because we understand the rules we can make predictions about what influence or role the magic will have in the plot. to use atla as a very simple example again: when iroh teaches zuko how to redirect lightning, we can predict that this ability will become a vital form of defense against azula and ozai. atla sets up lightning bending, then sets up a defense against lightning bending, and we don’t need to wait around for it to happen to understand that this is going to become Very Important later.

now compare this to rta season three. a whole episode is dedicated to establishing that the moonstone is connected to cassandra’s emotions in a pretty significant way. after bva, there was a lot of speculation about how this fact would play out in the events to come; speculation about other types/colors of rocks and what effects they might have; speculation about how this would tie into cassandra’s emotional arc; speculation about how zhan tiri’s manipulation might interact with the moonstone’s emotion-based magic. and... absolutely none of that happened, because that was rules-based speculation built on the assumption that rta’s magical system had definitive rules. and that was an assumption made because, in s3, rta’s soft magical system started to behave as if it were a hard one. ie, it jumped into center stage and went “look at me! i’m important.”

except it was still a soft magical system with no definitive rules, so any rules-based speculation was impossible and pointless. it is like trying to build a house out of beams of light. you can make a house shape, but if it rains you are still going to get wet.

and i made this mistake, too! i also made the assumption, after BVA, that answers were coming and we could expect the magic to continue to develop into, if not a hard system, at least a hybrid one, and a lot of my speculation after that point came from a place of expecting answers (and trying to unravel the answers on my own before the series showed them to us).

but rta’s magical system just was not built that way. it wasn’t set up to play this central role in the plot, it didn’t have definitive rules, it didn’t have a preexisting framework that could be used to expand and elaborate on characters’ abilities in a naturalistic, predictable way, so... as is often the case with mis-used soft systems, the magic just got vaguely Bigger whenever the narrative called for escalation, and the “ultimate power” ended up being completely underwhelming because it was just More Of The Same, But Make It Yellow.

as... a point of comparison here, because i’m struggling to articulate what i’m driving at, let’s consider my take on the sundrop/moonstone lore—the hard magical system i created for bitter snow.

1) magic is drawn from a powerful magical entities (deities, demons, spirits).

2) magical abilities are based on the abilities of the patron.

3) the sundrop and moonstone are artifacts belonging to/created by a solar deity (huma) and lunar deity (turul). they are basically teeny tiny shards of those deities that fell to earth when it was still a molten lump of raw material and then molded it into a world capable of supporting life. the drops themselves can serve as direct conduits to huma/turul, and both have extensive root systems; the sundrop’s roots support the outer crust of the earth, while the moonstone’s roots (the black rocks) form the inner core.

4) the magic of the sundrop is restorative, and it also “casts” a shadow in the form of destructive magic. the restorative/destructive magics are always equal (hence the “shadow” metaphor). the restorative magic heals, creates and nourishes life, offers strength. the destructive magic is the opposite: it destroys, it kills, it weakens.

5) the magic of the moonstone is transformative. it takes the sundrop’s “shadows” and refashions them into the black rocks. it adapts, it moves, it alters things. it is neutral, centered, and stable in comparison to the sundrop’s intense extremes.

6) both huma and turul (and by extension the drops) are also connected to zhan tiri, as all three formed very early in the beginning of the cosmos. like huma and turul, zhan tiri’s magic is centered around change; hers is corruptive. zhan tiri’s magic manipulates strengths into weakness, and weakness into strength. it gives by taking away. it feeds.

7) to put these three types of magic into more concrete terms: let’s say alice, bob, and carol all break their arms. alice calls on the power of the sundrop to heal herself, and her arm is instantly and perfectly repaired, but some destructive, uncontrolled magic is unleashed into the world to balance the scales. bob, meanwhile, calls on the power of the moonstone, and it transforms the broken arm into solid stone; the pain is gone and the arm is no longer broken, but it is also no longer, strictly speaking, a human arm. and finally, carol entreats zhan tiri for healing, and zhan tiri sets the bone but also infuses it with her own magic, so it festers/grows into a well of power for carol.

now, if we apply these rules to a plus est en vous type of situation where zhan tiri claims both of the drops for herself, what does that look like? it’s the power to instantly unmake and re-make the entire cosmos. it’s the power to transform the entire world and everything on it into stone or ice. it’s the power to cure every disease and heal every injury suffered by every living thing on the planet instantaneously, and to inflict those same sufferings on everyone and everything with a snap of your fingers. it’s, literally, limitless. (it also fuses zhan tiri, huma, and turul into a single entity called jinarche but that is a little beside the point for the purpose of this discussion.)

and... how do you beat a creature like that? well. you sort of can’t, on paper, but in practice the overwhelming shock of the fusion of that much power into a single being would cause a few minutes of intense disorientation and that creates a window of opportunity to break the fused power apart again... but this isn’t a “win” scenario either, really, because when you do that it is going to cause an explosion of power violent enough to shred the entire cosmos so it is basically hitting the reboot button on the whole universe.

so, operating within the bitter snow magical system, the key to defeating a zhan tiri who wanted to acquire the sundrop and moonstone (and fuse with huma and turul in the process) would be to stop her before she gets her hands on both drops. because of the framework created by this hard system, the plot of this alternate plus est en vous is all about preventing zhan tiri from acquiring the drops, because the second both of them are in her possession it’s game over even if you manage to kill her. you either get an unkillable, omnipotent god or you get the entire universe self-destructing. the stakes are that high.

*deep breath*

with this in mind, let’s wrap this back around to canon. when zhan tiri takes both the sundrop and moonstone, what... are the stakes?

in TOTS, when zhan tiri revealed her plan to take both drops for herself, did the stakes feel high? we are told at several points that the drops have the potential to destroy the world, but does the stinger at the beginning of TOTS feel like an “oh, shit, the literal planet is at stake here” moment?

does zhan tiri in plus est feel like a super-powered demon who has just acquired the ultimate power of creation and destruction? no! the golden rocks and turbo-charged decay incantation don’t even feel like an escalation over the cassandra vs rapunzel battles in CR and earlier in plus est—in fact, frankly, they feel like a downgrade by virtue of being less flashy!

the series has given us no frame of reference for what the ultimate power looks like while simultaneously providing no internal scaffolding on which to build that kind of escalation. this is the biggest downside of a soft magical system—it’s really damn hard to keep raising the stakes if you don’t have the basic framework of “here’s what the rules are, here’s the limitations.”

back to bitter snow: neither zhan tiri, turul/the moonstone, nor huma/the sundrop on their own are powerful enough to rip the whole universe apart. zhan tiri is the most individually powerful of the three, and while she could probably destroy the planet if she really put her mind to it, that would take centuries to come to fruition. it would be a matter of planting the right seeds, worming her magic into the right cracks, growing and feeding and hollowing it out from within, and then hitting the pressure points at just the right time. it is only in combination that these three become strong enough to just unmake the whole cosmos in the blink of an eye. this kind of escalation is possible because i know what the limits are.

in a soft magical system version of bitter snow, it’d be more like “well zhan tiri is really powerful, the sundrop and moonstone are pretty powerful too, if you put them all together they’d all be... like, Really Really Really powerful.” because the whole point of a soft magical system is that it’s vague. it’s not supposed to have this level of clarity and precision in how it works. this doesn’t make escalation impossible, just super difficult, because it’s so easy for escalation or new powers to come across as plot contrivances (BVA) or deus ex machina or purely aesthetic in nature like the gorgeous and dramatic fight in CR or the golden rocks zhan tiri uses. and from an audience perspective, there is literally no way to guess what might happen next because there are No Rules. you can predict character beats and plot developments, of course, but you can’t make accurate assessments about the magic.

and when you’re using a soft magical system in this way, where escalating stakes based on magic use are integral to the plot, you are basically inviting your audience to go “hey, wait a minute, how does this work...?” for the same reason audiences try to analyze and understand why characters are acting the way they do.

and that’s why rta’s magical system ultimately failed. not because it’s confusing, but because it was too soft for what the story wanted to do with it.

#rta #farran rambles about worldbuilding for thousands of words again #only semi-coherently rip i have a lot of thoughts and only a vague idea of how to articulate them #anyway!!!#tldr: rta has a soft magical system #soft magical systems are NOT bad #but rta used magic in a way that would have BENEFITED from a harder system

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spiritmaiden23 · 4 years ago

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why do you even like skyward sword zelda

Oooooo, anon you finna make my followers hate me even more since I don’t shut the fuck up about one beautiful sky Zelda. In short:

In long? Well, I’ll place it under the read more. Juuuuust in case I do actually get super rambly ramble with this girl because I can like talk hours. Excuse the mistakes, I’ll get to editing them once I learn how to read again. I tend to go off when I ramble and not check anything until later on. Bear with me, please!

I’m not even sure where to start?! I suck at getting my thoughts out into cohesive enough reading pieces because ADHD is just hell brain going 755034 miles per minute and expecting everyone to keep up sometimes. I feel like everything I’ve said has been said before... but, I’m always totally ready to ramble once more because it’s something I can never be tired of and is very on-brand of me to yell about either sky or ALTTP Zelda. I’m just super passionate about these girls!

What drew me to Skyward Sword Zelda in the first place is the aesthetic of her game as well as her design as a whole. I remember seeing the trailer for SS drop and how hyped I was. The cel-shading was back with a vengeance with a nice combo of the art style we see in TP too rather than the more toon style with WW and I feel like it worked beautifully, the graphics for the game never fail to amaze me and I love the watercolor look they went with in both the official art and game! I knew I would love this Zelda and guess what, I was right in that because spoiler alert: I LOVED this Zelda the minute we were introduced to her. Not her first physical appearance because all we saw was her beautiful dress design... well, ok this did help in making me love this girl. BUT her first introduction as to who she is as a character in the letter sent to Link. She’s cheeky in the letter and it gives us this sense that the two of them really are on a more familiar level with each other, compared to every other relationship with Zelda and Link where they are strangers bound by fate to save Hyrule. It’s very simple, a few sentences but all that simplicity painted a good enough sense as to what we were in for with Zelda and her friendship with Link.

HOOOOOOO BOY HOOOO BOY!!! And then we see her, and we see Link smiling at her like it’s the first time seeing her ever despite seeing her yesterday. And gosh, she’s just a charming character overall!! She’s funny, someone who likes to tease others and carries a strong sense of justice! She can be pushy (literally and figuratively speaking) but she does mean well by the end of the day and is aggressive in showing support for you! She’s an optimist mostly for friends because she thinks that things will turn out alright for her friends and she wishes that they can see the same too so often she will encourage them. She’s not a princess. She’s very ordinary here, and that ordinariness illustrates both Sky and Tetra best because of how lighthearted and open they are. Granted they’re not super lax and are still very responsible like all Zeldas but they’re pretty informal and I love that about them!

Sky Zel is someone who’s pretty straightforward, she has no issue with letting both her body and facial expression do the talking for her as such she doesn’t really hide much. She’s an open book of sorts all while being someone who expresses her mind and isn’t roundabout in saying things, she has no issue with calling you out as shown with how she called out Groose and his bullying on Link. On top of that, she does call out Link a few times too depending on the choices you give in-game! Skyward Sword did an excellent job in making Sky Zel so likable and adding nuance to her relationship with Link through the little things in the first few minutes of the game and it’s like, damn you kinda wanna see her again all safe and happy!

It reminds me of how Wind Waker starts off with Aryll and Link having a wholesome brother-sister bond and it motivates you to rescue her because you’re sure that Link wants to see Aryll home safe and happy again with Grandma.

It’s a shame how we don’t see her journey throughout the game and see how she becomes the more melancholic, wise girl we see during her scene where she falls asleep for over 1000+ years or the full extent of her relationship with Impa either because I’m sure those two had a pretty good bond going too for Zelda to react like that during the end where Impa fucking dies hweoh. That’s another thing too, there’s a whole other layer to Sky aside from Genki. Yes, she’s cheery and seems like your typical anime heroine but keep in mind that she was Hylia, a goddess who fought for her people to protect them, the lands, and the Triforce. She was in a war, she had to see so many of her people die that she loved and vowed to protect because of one demon’s greed to have the power of the gods. Hylians were weak back then, Demise says this straight up. So death was very likely in those days.

She had to endure a lot during that time, once Zelda’s memories of her past life came back she grew up from that girl we see at the beginning of the game. It’s also worth noting, that Zelda and Hylia have different mindsets. She may have her memories back but that doesn’t really mean she’s back to being Hylia fully before she became mortal. I’ve talked about it before but Zelda, with her ordinary background, grew up surrounded by love. In other words, she has a more compassionate heart than she did as a goddess. Gods and deathless beings overall have a long lifespan, they tend to forget about morals and how humans worked. While Hylia did love her people and the lands her love is different from mortals as such it can be very painful. I mean *gestures to Sky Link* there you go. It’s why she’s so remorseful of her actions... but the ending scene where she tells Link she wants to live on The Surface tells me that there are still shades of that playful gremlin we saw in the first half of Skyward Sword. She’s someone who’s hopeful for tomorrow but likes to live in the now and make a brighter tomorrow. She won’t hide away from the past, willing to admit to her mistakes and refusing to make excuses, but she won’t let it define her either and will instead grow from it. She wants to protect the people she loves and the world she loves much like she did in her past life but with more empathy with that love!

I think that’s all for her as a character aside from one more thing to add:

It’s cool to me how she’s not a princess, but a literal Goddess. She’s legit Hylia. So she’s unique in that aspect and she serves as an explanation as to why the royal family even has divine powers because her blood is passed down to them. I don’t buy fanon theory that all Zeldas are reincarnations of Hylia, I think Sky is the rare case of Zelda reincarnating. There’s no evidence to support either theory because Nintendo tends to be open-ended in their lore for the most part... although Demise makes it a point to say “those with the blood of the goddess” rather than the “spirit of the goddess” like he does with Link which is something that Ghirahim and Demise wanted from Zelda, aka the Spirit Maiden, to bring Demise’s form back from the seal Hylia placed on him. Her very soul has divinity to it.

On top of that, in BOTW it’s explained that the sealing power has been passed down and that Zelda’s mother knew how to use it as did her grandmother and so on. So... with that in mind how on earth is Hylia around for both those ladies and the current Zelda we see in BOTW if every Zelda ever is the reincarnation of her? On top of that BOTW Zel says in her diary that she had a dream where a woman in white tried to call out to her so??? Huh? What? It creates a plot hole if you think every Zelda is Hylia reincarnating. And sort of takes away the fun headcanon of Zeldas interacting in the Spirit Realm. That said, I’d like to think her presence is eternal through the powers that become unlocked rather than Hylia herself. If that makes sense? It’s not literally Hylia reincarnating but a connection made with her. This might not be making much sense haha. But! Reincarnation is a thing I do think is possible in LOZ since BOTW does say this but I don’t think it’s not as straightforward as fandom thinks it is and I’d like to think it’s more nuanced. People tend to cite Avatar sometimes and ehhhhh. No.

But that’s just me on that one.

ANYWAY THAT IS ALL THANKS FOR COMING TO THIS RAMBLE

#ooc postings.#gosh what do i even tag this as?#shut up amber.#there we go...#anyway sorry to new mutuals and old mutuals. this is hell.#GOOD LUCK READING THIS ON MY THEME I NEED TO FIX THE PLACEMENT OF THAT BLUE FREAKING FEATHER DSHJBVAKD #sorry for that... mobile might be your best bet haha

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disaster-fruit · 4 years ago

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Talk to me about the lusoteens, pretty please? I'd like to know their ages, a bit of them and their relationship with Luciano and among each other ♡

Hehe lusofam talk time

I know I said this would be spoon-fed but it got LONG so I apologize…. But at least is everything in one place??

I’m gonna focus more on aspects that are useful for writing AUs since that’s what’s on your mind and not really focus on history stuff, but if you want more nation-verse stuff I’m also going to link three posts by portu talking about each of them. Portu was who originally came up with the characters and I mostly build from what she created because her characters are just too damn good and I had to steal them for myself and design them and think about them a lot so it’s our lusofam but she will always be the best source of information and headcanons. I just happen to have a lot of free time. Anywayyy

As the name suggests, they’re all teens and don’t have a big difference in age, but I do think you can be fairly liberal with how old you decide to make them since it’s for an AU. Cape Verde is the oldest, São Tomé e Principe is in the middle, Timor is the family baby.

Cape Verde:

· Rosa

· 13-14

· Shortie lol

· Artistic!! She paints landscapes and writes poems, and also loves biology.

Rosa is really chill and carefree, she’s a sweet artistic introverted girl who lives on the present and tends to avoid conflict. She doesn’t like to be on the spotlight but likes to be around people who does (like Guinea Bissau, her older sister in the nationverse). She tends to not stand up for herself and not be openly angry at people, even when she should, and she’s also diplomatic in the sense that she’ll try to always understand all sides and help, so though she avoids conflict she finds herself in mediator roles many times. She’s like a sweet and charming Disney princess.

São Tomé e Principe:

· Vera

· 12-13

· the chaotic one

· too smart for this

She’s the more outspoken and cheeky, bratty even. As a nation she has grown up mostly alone so she’s more self-sufficient and separated from the rest, and doesn’t necessarily wishes some sort of reapproachment. Unlike Rosa, she’s more of the type who does get angry (justifiably so, most of the time), and who can hold a grudge, and say what’s on her mind. She’s an introvert, she’s good at being alone, and enjoys studying for fun, though she leans more towards mathematics and engineering and stuff like that. She loves animals though! She’s pragmatic and independent!

Timor Leste:

· Simão

· 11-12

· Family baby, everyone must spoil

· CatholicTM

The precious baby boy, he’s the youngest one so he could, in theory, get away with anything, and be a true little devil (as luci certainly was) but… nope, he’s an angel. He’s very shy and quiet and too forgiving. Also an introvert, he enjoys talking to older people rather than young, hear stories about the land and the people and etc. He’s friendly with all people though, and specially with the weak and the struggling. The person he’s closest to in the family is Mozambique, who’s this very important and great older brother figure. No one in the family can say no to him, and he definitely has a sugar tooth so he gets all the candy he’s not supposed to have!

That’s the basics on them, now to their relationships with Luciano and with each other:

First, as nations I don’t think all the lusofam are siblings (or all port’s kids, for that matter), they all are family, but the exact bonds are not necessarily defined between all of them. However, that means when it comes to AU’s you have plenty of space to define those relationships in a way that best serves the story and you don’t really need to add Mozambique and Guinea Bissau and Macau, and etc.

I think the lusoteens all get along with each other, Rosa and Vera are very good friends and though they have very different attitudes and ways to view the world, they can talk about those things and understand each other’s perspective even if they don’t agree. Timor gets along with everyone and these two are not an exception. The three are more quiet and introverted kids, so they can vibe with each other pretty well.

Luciano, on the other hand, is very much the loud older brother they all think is super cool and kind of admire but who is also… too much? Though many times the kids will go along and end up having fun, because at the end of the day they do think he’s the cool brother and want to do Cool Stuff. He likes to take the teens swimming and playing sports, which is all fun. I think when he’s alone with each of them things do go better, since its less of a group activity and more of just a quieter bonding. He taught Simão to play guitar, he can talk about animals to vera or take her to see cool animals, or talk about how cool Rosa’s paintings are. In general, their relationship is pretty good and they look up to him more than anything.

Boyyy this was long. I hope it was useful for your au!! If you have any question, feel free to send another ask or DM me!! I’m more than happy to help with that au and to ramble about the lusofam haha

#i wrote this too fast to post it today but im sleepy so im sorry if this is messy and makes no sense #so by all means do ask more if you want to know more #but this is the general idea of them

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opbackgrounds · 5 years ago

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Alright, friends, you know the drill by now. Here’s Part III of Sarcasticles’ overblown thoughts on sexism in One Piece. If you haven’t already, go read Part I and Part II before proceeding.

I promise after this I’ll be done. By hook or by crook, we’re getting through the point of the original question. To the Anon who originally sent the ask, sorry it took this long to get here, I hope it’s helpful.

Also, I allude to some very, very minor Wano spoilers, so if you’re sensitive to that sort of thing here’s your warning.

Characterization? I Don’t Know Her

What makes a good character?

I’ve spent an awful lot of time talking about character designs, when, funnily enough, it’s one of the aspects I pay the least attention to when it comes to deciding if I like how an author portrays their characters. I personally don’t care for fanservice, never have and never will. But unless it’s particularly egregious, I tend to ignore it because there are other factors I think are more important.

The secret sauce for building characters is hard to define, because a good writer can take a concept that has no right being any good and turn it into something incredible (Oda does this all the time) where bad writers will seemingly slot all the right information in the right holes and still have their characters come out of the developmental oven flat and under cooked.

One of the biggest buzzwords floating around these days is agency. Is a character active in their own story, or are they jerked around by the needs of the plot? Is their voice heard? Is their voice unique, or do they blend in with the background?

This is particularly important, because the term Strong Female Protagonist has been warped into shorthand for “girl who fights a lot and looks pretty doing it”. You can have a girl strong enough to lift mountains and still have her be a shit character. You can write a girl who’s main motivation is to get married and have babies with phenomenal depth. What matters is execution.

The Petition to Call A Group of Rescue Arcs a ‘Damsel’

Both Nami and Robin had to be rescued, their main arcs bearing similarities that are impossible to ignore. But these aren’t copies of one another as much as variations on a theme, and with the existence of Marineford and Whole Cake Island I think anyone would be hard-pressed to say that One Piece’s rescue arcs are a girl’s thing. At this point it’s a feature, not a bug.

Which makes sense given how fundamental the idea freedom is to the series. Hell, the first thing Luffy does after becoming a pirate is free Coby from Alvida’s tyrannical reign. Then he frees Zoro from an unjust authority that would have killed him had Luffy not intervened.

Notice a pattern here?

One Piece is written like Pachelbel Canon, in that a very simple core of ideas are repeated over and over with layers of complexity and nuance added over time, examining the same themes from every possible angle.

And when you look at the Four Big Rescue Arcs -- Nami, Robin, Ace, Sanji -- you’ll see that it’s Ace who’s given the least agency throughout his arc. Nami chose to hijack the Going Merry, repeatedly chose to push away the Straw Hats until she reached her breaking point, at which she chose to ask for help, with Luffy only intervening once she does.

Robin is a little less obvious, but during the post-Water 7 party chapters, Aokiji makes the interesting observation that Robin could have escaped CP9, but chose not to

Remember that before Robin’s backstory was shown, Luffy specifically said he didn’t care if she wanted to die or not, so long as she was with the Straw Hats when she made her decision. No one bullied her into “I wanna live”. It was a choice she made of her own volition after realizing the depths the Straw Hats would go on her behalf.

I know there are people who disagree with me, but Nami and Robin are well-written characters. I’ve expounded enough on my reasoning both here and on my main that I don’t want to spend the time belaboring the point. What I do want is to note that Luffy wouldn’t be able to attain his dreams without them. Nami keeps them on course while also severing as a sort of moral compass for the crew -- remember she was the one who insisted on saving the giant kids at Punk Hazard -- while Robin’s ability to read the poneglyphs is what’s going to get the crew to Raftel.

Robin admittedly doesn’t have the same presence within the Straw Hat Pirates as Nami, but I would hardly call that sexism. Since Water 7/Enies Lobby she’s been pretty content to go with whatever Luffy says, and the fact that she’s literally quieter than anyone else in the crew means she doesn’t get as much focus. I think there could be more scenes with her using her specific skill set, like her investigations in Wano and the forensic anthropology scene in the pre-Jaya chapters, but I’m okay with her being a supporting character.

The East Blue Crew have consistently gotten the most focus of any of the Straw Hats. They are the core of the crew, something Oda admits in a roundabout way in the Color Walk where they all appear together for the first time in a color spread

With the main cast as large as it is, not everyone is going to have the same amount of focus or development. Robin is given a unique voice within the story because she doesn’t overreact the way literally everyone else does. Through her silence, she stands out. I find there to be very meaningful character development when she feels comfortable enough with the Straw Hats to start calling them by name in Thriller Bark, relaxed enough with her friends to comitt her first facefaults in a series lousy with them in both Dressrosa and Wano.

In an ideal world, Oda would better rotate through his cast, much like how Brook was the unsung MVP on Whole Cake Island (where Nami was also excellent in a supporting role) but I don’t think people realize how hard it is to juggle almost a dozen different people in a story that’s bloated exponentially over time. To his credit, Oda has handled his expanding crew better than most writers.

I also find it hard to judge this aspect of the series because the manga’s not done yet. I don’t know how Robin and Nami will be used in the future. I mean, Robin never got a chapter title declaring her “The Seventh” which I find suspicious, so Oda could very well have events in store that completely turn our perceptions upside down. It’s impossible to say.

I will acknowledge that the lack of big fights is somewhat disappointing, but neither Robin nor Nami’s dreams revolve around them getting stronger. Robin doesn’t need to use her power to make people explode from the inside out, Nami doesn’t need to fry end-game bosses with her lightning stick. That’s simply not their narrative purpose. With the exception of Tashigi, I’ve found that the female characters advertised as fighters have lived up to their billing. Hancock came out of Marineford unscathed. Carrot’s sulong form was awesome, in the old-fashioned sense of the word. The whole climax of Whole Cake Island revolved around surviving Big Mom’s wrath. Not beating her, not fighting her, it took all the Straw Hats had to just survive. Once again you’re left with a number’s game where where there just aren’t enough female characters to even pretend things are balanced.

All said, I think if you’re going to complain about the lack of Robin fights then I think you also have to complain about the lack of Brook fights, and that’s just not something you hear about, especially after Whole Cake Island. You can’t have it both ways. Either there needs to be more even distribution of major fights throughout the entire crew, or you have to acknowledge that a character’s worth isn’t dependent on their fighting prowess.

One Piece is a battle manga, and I do think that it’s fair to criticize when a character isn’t allowed to fight when they’re perfectly capable of kicking ass. But it’s also an adventure story, and that opens up entirely new space for a character to occupy, and that’s where I think Nami and Robin (but especially Nami) really shine

That Moment You Realize Humor Isn’t A Universal Language

I’ve spent so much time defending Oda’s designs and characters that it might seem like I’m perfectly okay with everything that’s portrayed in the manga. To be clear, I’m not. If the messages and comments I’ve gotten over the past several days have taught me anything, it’s that many fans share the same sticking points I do, namely in regards to some of the gags.

I again want to be careful here, because I’m hardly an expert on Japanese culture and it’s really hard to tell if Oda writes his jokes because he thinks they’re funny, or if he thinks his audience will find them funny. I’m again going to default to somewhere in the middle, because if Oda truly found the perviness distasteful he probably wouldn’t have included it, and I’ve read enough SBS to know the guy likes his dick jokes.

First and foremost, one must address the culture gap. Japan ranks last among G7 nations on gender equality, In 2004 two-thirds of Tokyo women in their 20-30s reported to being groped while on public transport. There are numerous barriers that make it difficult for a woman to succeed either in the workplace or politics.

From what I can gather, some of these trends are reversing, albeit slowly and with great resistance. Contrary to what many people seem to believe culture is not always value neutral. And I say that as an American, recognizing there are plenty of things about my culture and country that are really fucked up.

But who gets to decide who’s right and who’s wrong?

When inside that kind of environment, that kind of culture, it’s a lot easier to understand how a character like Sanji can exist. It’s easy to understand why Momo shoving his face into Nami and Robin’s boobs might be played for laughs. It’s not an excuse, but an explanation. And with Sanji failing more often than not, being the butt of his own joke as he slowly turns into a parody of what he once was, one could almost say Oda is pointing those types of people and saying, “Look how pathetic this guy is. Now go laugh as he gets a nosebleed so bad he needs multiple blood transfusions in order to not die.”

I say almost, because Sanji is never condemned for his actions, nor does he learn from them. Instead you have this character who’s supposed to be one of the kindest characters in the series decide to immediately go peep on a woman’s bath house after gaining the power of invisibility.

Stay classy, Oda.

As distasteful as I find it, I don’t find fanservice to be an inherently evil thing that must be eradicated at all costs, and with Oda doing things like putting his entire cast, male and female, into skintight leathers you can hardly say that he’s excluding the men.

Everyone will have their line in the sand, and mine goes back to agency. When Nami did her Happiness Punch way back in Alabasta, that was of her own volition. When Nami and Robin dress in clothes that show everything but the nipple, that’s something they chose and feel comfortable in.

But when Smoker and Tashigi swapped bodies at Punk Hazard, Tashigi specifically asked Smoker not to strip, and he did anyway, opening her coat and removing her bra. This is especially egregious as Tashigi is one of the very few women in the series who is always shown wearing very conservative clothing. Oda specifically showed Tashigi getting upset at Smoker’s actions, and Smoker repeatedly refusing to listen to her.

That’s where I draw my line.

Some Final Thoughts I Couldn’t Fit Anywhere Else

Thought The First--Oda has an interesting habit of turning his most despicable, scummy pieces of flaming human garbage into the butt of the joke. Villains like Crocodile and Doflamingo are certainly evil, but it’s the idealized, cool type of evil that makes you almost admire them. There aren’t very many real-world Crocodiles, but just about everyone knows a Spandam, or an Absalom, or a Vander Decken. These kinds of villains aren’t scary because of their physical prowess, but their unyielding obsessions and the power they’re able to wring from the system, and -- surprise, surprise -- all three are either actively trying to be creepy sex pests or coded as such with the visual language of the comic.

And Oda turns them into a mockery.

While there are some who feel like not treating serious issues like sexual assault seriously are doing a disservice to people who have endured similar experiences I think there’s merit to turning them into a laughingstock. As someone much smarter than me said once, if an opinion cannot withstand mockery it’s revealed to be ridiculous, and these scummy-scum villains are certainly ridiculous.

Thought The Second--It’s hard to say how much sexism is a thing in-universe. Kuina is the only one who is explicitly told her dreams were impossible because of her gender, but with the recent reveal confirming that her family came from Wano, which in turn is based on Feudal Japan, it’s hard to say how widespread these beliefs are. Tashigi brought it up again at Loguetown and Bellemere specifically told her girls that they lived in an era where “girls needed to be strong, too”, but otherwise it’s not a topic that’s been explored in any depth

Thought The Third--The in-universe fetishization of mermaids has some implications that I think are unintended but worth discussing. Shirahoshi has a reputation of being one of the most beautiful women in the world despite not leaving her tower for over 10 years (she’s 16). Mermaids whose tails have split are worth less on the slave market than those whose are intact. Even Zoro erased Kokoro from his memory after meeting the more attractive Caime. It’s one of those odd things that when combined with the more obvious racism themes could have some unfortunate implications, and I think could have been avoided had Oda show a little more restraint with some of his jokes. Unintended consequences are still consequences.

Thought The Forth--There are many other instances throughout the series that people bring up with talking about sexism in One Piece. I feel like a lot of these can be explained away individually -- for example, both Belo Betty and Rebecca’s stripperific outfits were inspired by other media, the painting Liberty of the People and Red Sonja respectively; Lola chasing after an obviously abusive man makes a whole lot more sense when you meet Big Mom; Hancock’s love sickness could be seen as an emotionally stunted woman experiencing her first crush, etc., etc -- it’s when they’re all put together that they begin to read as “Problematic”.

It would be impossible to go over all these individually, but I tend to fall on the side of leniency. In the end, everyone has to make their own decisions based on their own values. I’m hardly unbiased, and my enjoyment for the series will undoubtedly make me look the other way when another might call the exact same incident The Worst Thing Ever. The thing is, opinions are like assholes, everyone has one and most are convinced that theirs don’t stink. I include myself in that statement. In the end it’s a comic for kids. It’s supposed to be fun.

Thought The Last--I have spent entirely too much of my time writing this up, but in the end I guess I have to go back to what I said when I talked about my thoughts on Sanji: Everyone has their own personal line of acceptable bullshit, and for me Oda does more good than bad. Sanji specifically gets very little leniency from me because I don’t like a lot of the gross behavior Oda passes over as a joke. But the female characters themselves, generally speaking? They’re fine. There are other mangaka that have more equal male to female ratios or have women play more active roles in the story, but Oda does a lot better than most other shonen titles I’ve read.

It’s okay to be critical of media you enjoy. It’s okay to complain. But remember that One Piece is a very long series, and there are some fans who have been a round for literally decades. I myself started reading weekly around the time Duval was introduced, way back in 2008. Every time a new batch of fans comes in the same old arguments get stirred to the top of the pot: Sanji is a creep, Oda can’t draw women, why doesn’t Robin ever get to fight?

It can be exhausting to go through the same hoops time and time again. So if you’re someone who is being critical and feel like no one is listening, or that a bunch of fans are going out of their way to defend Oda, that could be one of the reasons why. They’re tired of having a series they enjoy be shit on.

There are other fans who legitimately don’t think that Oda’s done anything wrong, that jokes are just jokes. If you happen to fall in that category, remember that not everyone feels that way. Art reflects life, which in turn reflects art. One Piece is a few million copies away from outselling Batman. To say it isn’t influential to young readers, both in Japan and abroad, is beyond asinine.

I thank everyone who’s taken the time to read this so far. I’ve been pleasantly surprised by how civil the discussion and my inbox as stayed. Even if I didn’t respond to your message, I promise that I did read it.

I wrote as much as I did because I know this is a topic a lot of people care about, and also so I hopefully don’t have to write about it again. A lot of hours has gone into this project, and it’s been exhausting, but in a good way, if that makes any sense. I’m ready to put it to rest.

I was joking with some friends that I think I’ve hit just about every hot topic issue now, so hopefully I can go back to fun questions like speculating if Wapol can eat a person and poop out a devil fruit.

Until then, Sarcasticles, out

#sexism #one piece #long post #sarc talks

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henpendrips · 4 years ago

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Top Ten #1 - Final Fantasy X (PS2)

Yup, it's this'n. So let's get right into it.

Boy, oh boy, Final Fantasy X. Is it the best entry in the series? No. Is it a better game than God of War 2? Definitely not. Yet as I struggle to write this summary, there is no other game that I can think of that would fit the #1 spot. And that's because, not only do I love the turn-based RPG genre, but... it was also the first Final Fantasy game that I really got into; from first coming into contact with it to finally buying and playing it for myself, a game that easily consumed five years of my life.

The story and world in FFX might be the most blatant in terms of points made, and as the last SquareSoft Final Fantasy, it also marked the end of an era, while being the start of another, more superficial and uninspired future for the series (with the MMOs and FF12 barely scootin' by, considering what was to come). However, that doesn't stop me being enamored with the two protagonists and the journey they go through: Tidus, the energetic blitzball superstar that functions as the audience surrogate; and Yuna, the reserved summoner carrying the weight of the world on her shoulders.

While most previous FF games start out small, and opened up as you progress, FFX presents you with big questions right from the start, and Tidus' clueless ass is the perfect vessel for players to take in this adventure one step at a time. His own confidence and playful nature also helps set the audience at ease, rather than feeling lost amidst the chaos. But it is through Yuna that the story of this game moves forward; she is the reason the party (and through Tidus, the player), continue this journey, her pilgrimage across the land of Spira, in the hopes of achieving a means to stop the cataclysmic monster Sin. And that's also why Yuna is my favorite character in the entire franchise (Zack Fair is a close second), as her determination and drive are apparent even through her shy and meek demeanor when you're introduced to her initially; and given how, unlike Tidus, she DOES understand what her journey might entail, she is aware of the consequences that might present themselves, and how her faith is challenged every step of the way, really showcases a strength not just in the character, but the writing as well.

In terms of exploration and level design, while FFX might have been a big step forward for the series, shedding the pre-rendered backgrounds of the PS1 era, Spira is left quite linear and restrained. It's no FF13, thankfully, as you're allowed to revisit almost every area you go to, and after a later point in the game, unlocking an airship gives you free range on where to go, including some optional dungeons and secret areas. It's no grand expanse, but you're given plenty of reasons to explore every nook and cranny for sidequests, extra gear, and additional skills. The equipment mechanics are interesting in concept, the ability to craft and graft specific abilities to your weapons and armor, but given the limited models for it, and the existence of Celestial Weapons, like a lot of aspects in the game, it comes off more like a means to extend gameplay needlessly, as several other games of that time did.

The combat system, meanwhile, is undoubtedly my favorite in the whole series, because it embraces the fact that it's a turn-based RPG. I've never been too keen on the ATB, and have definitely disliked the real time/turn-based hybrids that are leading the franchise further and further away from its roots, but FFX knows what it is, and fully embraces it. Based on specific stats, the Conditional Turn-Based Battle (CTB) system places every participant in the fight on a specific order, and every action taken by a character will affect how subsequent turns play out. Spells such as Haste will accelerate and give a character more turns, crippling abilities will push enemies further away from taking their own turn, and with the ability to switch party members on the fly, you have an approach dedicated to the player controlling the flow of combat, by taking advantage of enemy weaknesses and impeding them from attacking at all, something that, as the game progresses, especially with optional superbosses, develops into quite the challenge that is still all in control of the player.

Probably the most distinct aspect to FFX combat, however, is how summons, called Aeons, act as their own characters, all with stats and abilities of their own. All of them are informed by Yuna's development, and spamming them will definitely leave your other party members lacking, but it's always thrilling to drop yor giant monsters on the field and let them lay waste to your enemies. This also provides you with the Summoner fights, where Aeons can't be summoned by both parties at the same time, and how several bosses can easily destroy your summon, leaving you to plan out when it is most appropriate to use them. A very nice touch that is in line with the story of the game.

The progression system in FFX also deserves a highlight. The Sphere Grid replaces the usage of EXP with AP, and each character is placed upon a giant grid with slots to fill up, so as to increase their stats and learn new skills. Special key slots keep your characters on set paths at first, but you'll eventually be able to cross characters onto others' sections, allowing you to increase each party member's usage beyond their initial limitations, while minimizing their weaknesses and shortcomings as character-locked roles. It's definitely another aspect of the game done to extend gameplay, especially given how you can customize the entire Sphere Grid for all seven characters, but after playing FF12, I'm much more content with a system that provides unique roles to characters, letting you familiarize yourself with them, and then expanding their arsenal and abilities later on. Seriously, if you want to play FF12, which I recommend as my fourth favorite FF game, play it on PC with a merged License Board mod, it'll be so much more satisfying.

And to close it off, given how most of the positives above also provide some detail on the negatives, the art direction in FFX is just the right amount of overly-detailed before going down Belt Buckle Avenue. There's an overall ocean theme to the designs, with a lot of spirals and natural patterns to the architecture, character design, and even the monsters, that I enjoy massively (and the PS2 limitations probably kept it from going balls-to-the-wall insane). There's an obvious jank when it comes to facial animations and how a lot of voice lines are delivered, but the emotional peaks are all there, a prime example of both the good and bad being one of the speeches later in the game, how the animation and delivery contrast immensely with all the other characters in the scene. And of course, how can you forget the ridonkulously catchy tunes such as 'Hymn of the Fayth', 'Challenge', and 'Otherworld' (the song that until recently, I still believed had been composed by Ramnstein).

With that, it's done. Years ago, when I first thought of which game was my all-time favorite, I definitely had a big thunk on whether it was God of War 2 or Final Fantasy X. But in spite of all that has happened since, the state of the games industry as a whole, and how I changed in terms of standards, taste, and preferences, putting FFX on the #1 spot of this list is not a regret. It defined me as a person, as an enthusiast, I'm very happy that it opened so many doors and how it motivated me to push forward as an artist for several years now. Also, Rikku with X-2 costume was top tier first waifu, fite me.

#art #artists on tumblr #final fantasy x #final fantasy #FFX #tidus #yuna #top ten #videogames #fanart #illustration #print

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maxwell-grant · 4 years ago

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I hope you don't mind me dropping asks on you every day? Anyways, a general question on modern-day attempts at using existing Pulp Heroes; do you think there is value in setting such tales in the modern day, rather than being period pieces? And if one does do so, do you think the best approach is to go full setting update, or to somehow translate the characters into the modern day, or to go the Legacy route?

I eagerly look forward to answering all kinds of questions, so don’t hesitate to send any my way!. Any feedback or excuse I get to go off on a subject is extremely appreciated.

Okay so on to your question:

...Man, that really seems like the billion dollar question when it comes to the pulp heroes, isn’t it? The one at least that every conversation regarding adapting these characters, giving them reboots or new stories, seems to inevitably get stuck on: Should these characters be left as is, or modernized? Is there any point to trying to modernize them when often, at least in the public view, the only thing that separates them from being diet superheroes is their time period? Can these characters even survive as anything other than historical footnotes if they don’t move past the trappings of time holding them back? I’ve been very firmly on both sides of the question at different points and I think every answer inevitably brings up solutions and problems of it’s own.

For the moment, I’m going to start by saying that it’s something of a case by case basis. For example, The Scarlet Pimpernel is a timeless archetype, but one who’s specific characterization and history is so tied up to it’s time period that it’s far better to just reimagine the Pimpernel into a different character set in a different time, than to try and remove the Blakeneys from their time period, likewise with characters who cross into historical fantasy like Conan or western characters, where they have such strongly defined settings and playgrounds that you’d be losing much by removing them from it.

But on the other hand, you have characters like The Phantom, or The Avenger, who very clearly could exist at just about any point in time and don’t have any specific complications holding them to the 30s (in fact The Phantom was arguably designed for this, being he kickstarted the whole legacy superhero concept). A lot of the times, people seem to think or insist that certain pulp characters cannot be separated from their time periods, even when they were well on their way to doing so before some unfortunate cancellation. The Shadow, for example. Gibson had no problems updating the character’s adventures to the 60s for the Belmont series, and if The Shadow had maintained the kind of continuous publication that Batman and Superman had, I have no doubt whatsoever that nobody would even peg him as a character that belongs to the 30s and the 30s only, even if a lot of important aspects of his character are tied up in 30s America and The Great War and whatnot.

To try and streamline this response into something more general, I’m going to state that, yes, I do think it’s a case by case basis where some characters don’t work as well outside their time periods, and others should have left them ages ago, but in general? I think most of the pulp heroes would stand to benefit much more from being set, not just in modern times, but outside of time. Or at least, outside of a specific time period being something that defines and entraps them. Pretty much none of these characters, outside of historical fantasy examples like Conan or characters whose genres are locked into specific past time periods like cowboys, were intended to be period pieces, and yet that’s what they became, because time has been extremely cruel to the pulp heroes in many ways.

To bring up superheroes briefly, while I maintain that I think the real secret to making pulp heroes work and achieve success again is to distance them from superheroes, or at least the popular blockbuster superheroes, as much as possible, the superheroes have been around running the show for a while now and experimenting a lot as an inescapable facet of pop culture that's worked out monstrously well so far,nso clearly there’s a lot to learn there. The superheroes by and large belong in shared universes held tight by copyright where the weight of accumulating timelines inevitably forces them to either undergo reboots every couple of years, or endure constant quiet retcons snipping away at continuity so the cohesive “Superhero Universes” can function. But there’s no such thing as some big “Pulp Hero Universe” existing anywhere near the same capacity, there’s works gesturing to the idea like the Wold Newton Universe and LOEG and Dynamite’s shared author works largely scrapped together from separate sources all drifting apart, and most of these characters have largely fallen through the cracks of copyright law and into outright non-existence, or are halfway there. Very few modern instances of "cinematic universes" outside of the MCU work, so what we do instead is go the opposite route, closer to DC's "throw anything at the wall to see what sticks" approach.

What I’m getting to is, I could flip through the pages of Jess Nevins’s Encyclopedia of Pulp Heroes, pick about 3 or 5 random characters, put them in a story regardless of whatever time period they used to be a part of, and make something out of it, without anyone stopping to question “Hey, hold up, why is Joel Saber not on Victorian England? Why are Uirassu and Tom Shark in a loving relationship when they don’t even belong in the same decade? Why did you turn Allan Crystal into a talking sparrow? You are betraying the source material, these characters don’t work outside of it”. Because nobody has any idea who those guys are, they might as well be just original names I made up (I didn't, btw), and nobody has any reason to care, they will only care if they read good, engaging stories with strong characterizations that give them a reason to be invested. And if achieving that requires ditching adherence to the source material (which doesn’t even exist anymore for at least a third of these characters), I cannot see that as a bad thing.

He's nowhere near the ballpark of pulp heroes but I'm going to bring up King Arthur as an example because he’s been on my mind today.

All of these, and countless others, are King Arthur. I’m no expert in Arthuriana, but from what I’ve gathered, I’d make a pretty good guess that one of the main reasons why King Arthur has been able to endure so strongly, and have so many variations that we have an entire area of study dedicated just to untangling those messes we call Arthuriana, has less to do with his historical or mythological importance (you hardly see that many stories about Cú Chulainn), but because the lore and imagery and events surrounding King Arthur have so utterly transcended the source material that people still dispute what the source material even was, or if he was a real person, or if he was created by the Welsh and stolen by Brits, and etc, and because he's completely free for any writers and artists to mold and use to anything they see fit.

King Arthur is not so much a character as much as he’s a sandbox that literally anyone can play in and reshape as they see fit, with no shortage of existing events and characters and magical items that you can treat as either essential staples, or guidelines and suggestions at best. I have three separate ideas for King Arthur as a big shark man in a greaser outfit who yields an oversized hair comb with fishhooks attached as Excalibur, one where he’s a monstrous dragon who sleeps in the ruin of his former kingdom guarding the only remaining memory of Guinevere left, and one where he’s a disembodied consciousness inside a giant mechanical bear. I could pick any of these and make a story out of them, or insert these into a story, any time I want, and nobody could stop me.

Point is, I think a lot, even most, of the pulp heroes would benefit from having some kind of “no-holds-barred, just do anything you want out of whatever you find interesting about the original” approach, a lot more so than the superheroes already do, because if there’s a single group of characters nowadays that best embodies an “anything goes” approach, a group that is almost entirely in public domain nowadays save for it’s biggest icons and therefore is already available for people to take and spin any way they want, it’s the pulp heroes. These characters have been in stasis for so long, or all but faded into nothingbbut mere footnotes in encyclopedia or records in libraries not even available online, and sometimes not even that. Most of their fanbases have largely died off and they are nowhere near close to gaining new ones, and our changing media tastes call for contrasts as much as it calls for profit. No sensible person would invest in most of these properties as they stand now, which is precisely what ultimately gives them the freedom to be anything at the conceptual stage. The only thing that really, really holds them back is time, which, again, has really not been kind to them. So why adhere to it? Screw time and whatever power it’s long held over these characters, let’s get weird with it.

So if I have to choose between “full setting update, translating the characters to modern day, or the Legacy route”, all three of which are perfectly viable depending on the character, I think the best option, generally speaking, is full setting update, if only because the setting should never be the main priority in the first place. The setting, like everything else, is there to serve the story and the author’s needs and wants, and I’m of the opinion that the setting should always primarily exist in service of the characters, as my writing and my favorite writings are all character centered above all else.

I think putting the pulp heroes in radically different time periods and settings could even yield interesting results. Genndy Tartakovsky’s Primal stars a caveman Conan/Tarzan type protagonist interacting with dinosaurs, Alan Moore’s V for Vendetta is a Shadow-esque character set loose in a dystopian future, Grendel is the Fantomas of 1980s New York, and so on. The precedent is there and I think it can be taken much further.

Really I think a lot of the problems and arguments that have arisen over the years in regards to adapting the pulp heroes often result of people overthinking things, lord knows I do enough of that all the time. I really think it’s just something that only seems impossible because it hasn’t really been done yet. Of course, in regards to The Shadow I obviously have a whole different text as to whether I’d want him to be adapted or not, but in general, my ultimate response to what you asked is just do whatever you think is gonna make the story better and the characters more interesting. A.K.A, do whatever you want.

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