#my whole goal has been to create a story that

[cosmicjoke]

I saw @acmeangel's analysis post on this scene, which is fantastic and which everyone should read, and I was going to add my thoughts to their post, but then it got too long (as usual), and I didn't want to hijack their analysis, so I decided to just make my own, haha. This really is an important scene which essentially encapsulates the difference between Levi and Erwin and which I think ultimately showcases what makes Levi such a genuine hero.

One of the overarching messages of AoT is that we shouldn't give up our humanity in pursuit of an ideological goal. I've talked a lot about how Levi puts his trust in Erwin and admires him so much because he sees Erwin's ability to set aside his personal feelings for the greater good as a virtuous quality, one which Levi hopes to be able to one day emulate. Levi sees Erwin as superior to himself for this ability, because Levi, no matter how hard he tries, isn't ever able to do the same. He's never able to set emotion aside. He's never able to make decisions detached from emotion. He's never able to send soldiers to their deaths without it tearing him apart and creating in him a sense of conflict. He's never quite able to convince himself that the thing these soldiers are dying for, which they choose to die for, is actually worth it, which is also why he works so hard to bring their goal to fruition. He can't accept that those lives were given in vain, but the only way to ensure that they weren't is to make their dream comes true. Because to Levi, it's their lives that have value, not the cause itself.

One of Levi's most defining traits, one which makes him stand out from basically every other character in the story, is that he has no dream of his own. Rather, he carries the dreams of others, makes himself the custodian of those dreams, and dedicates himself to their realization.

When he says in this scene that a pointless death doesn't suit anyone, what he's saying is that the cause Erwin is sacrificing soldiers for has to prove itself worthy of their lives, that it has to amount to something equal in value to those lives. Because that's the thing, Levi values life above all else. He sees each, individual life as being as important as the whole of humanity, and I think that aspect of Levi's character is demonstrated fully during the RtS arc, when he makes the choice to end Erwin's suffering. People argue and claim that Levi made the wrong choice here because they don't understand the thematic significance of it, getting caught up in speculation about whether Erwin would have been able to prevent the war between Paradis and Marley, whether Erwin would have been able to stop the Rumbling, etc... By getting caught up in that, they completely miss the point of how the story wants the audience to understand the importance of not giving up our humanity for any cause. It's trying to show us, through Levi's choice, why we can't let any cause or ideological movement turn us cruel. Levi's refusal to be cruel, his refusal to throw away his humanity, is meant to be seen as a good thing, and ultimately, ironically, it's Levi's humanity and compassion that makes him a superior man to Erwin.

Erwin tries to assuage his own guilt by telling himself that the lives given were for a cause greater than any, individual life. The cause of humanity. This is a narrative he clings to until he's forced to admit to himself that what he really was after in sending all these soldiers to their deaths was his personal pursuit of knowledge, in another attempt to assuage his guilt for the death of his father. Erwin sacrifices his humanity for a goal which is self-serving, and as he's forced to contend with that reality, his guilt grows tenfold, fracturing his psyche and self-identity. But even if his every decision had been for the so-called greater good, even if he'd been 100% dedicated to his duty as Commander, he still would have been left with a sense of guilt and self-loathing for sacrificing lives to this nebulous cause, just like Hange ultimately was, because the whole point of the contrast between Levi and Erwin is to show that, in the end, Levi is the one whom the audience should strive to emulate, not Erwin.

This moment in the story is driving home the point of choosing compassion over ideology, or even duty. Levi's choice is imperative in demonstrating to us that if we sacrifice our own, personal humanity, if we give into becoming cruel and unfeeling, if we lose sight of the very thing that drove us to wanting the world to be a better place to begin with, that being our compassion and desire to end the suffering of others, no matter how justified the cause may seem, we're essentially sacrificing humanity itself. Because it's when you start becoming cruel, for any cause, that everything turns to shit, both for ourselves and the world around us. It's cruelty that leads into justification of more cruelty, which leads into justification of atrocities. Bringing Erwin back, forcing him back into that role which was tearing him apart, mentally, emotionally, and spiritually, would have been purely an act of cruelty. But Levi isn't a cruel man. He's exactly the opposite. He's a man defined by his compassion and kindness. And what is AoT advocating for if not greater compassion and kindness in the face of a cruel world? It's telling us that the kind of compassion that Levi showed to Erwin in his dying moments is how we should choose to fight against the world's injustices and cruelties.

Because all the bad things that happen in AoT, essentially, happen because of a willingness to sacrifice ones humanity for ideology or for personal, selfish desires, and because it's those of us who retain our humanity and compassion, despite the cruelty of the world, and despite any supposed duty to any professed cause, that end up being able to live, as Levi says, with no regrets. This idea of sacrificing what we know is right for some abstract, nebulous goal of a better tomorrow is what leads to the destruction and corruption of our inner selves, and that, ironically, makes a better tomorrow impossible. If we become corrupted, if we allow ourselves to be lost to this idea of the greater good, in the end, it will only continue on the cycle of destruction.

Levi never sacrifices what he believes is right, never acts in any way which goes against his conscience. He never betrays his humanity. He maintains his compassion from beginning to end, and he never wavers in what he's fighting for, which, again, is every, individual life. That's what makes Levi a hero. His inability and refusal to set his personal feelings aside is, in the end, meant to be seen as the correct course. Because Levi's personal feelings have nothing to do with a dream or a goal. They have nothing to do with an ideology or movement. They aren't rooted in self-gain or greed. His sense of duty isn't to a cause, not to a country or an empire, or a sense of retribution or revenge. His duty, his obligation, is to doing what he feels, in his heart, is the right thing, what his personal feelings tell him is the right thing, no matter the situation or circumstances, no matter, even, if it turns out to have been the right choice or not. And that ties back into Levi's extraordinary compassion and empathy. It's his compassion and empathy which dictate his personal feelings of right and wrong, and his dedication to not betraying that sense is what ultimately dictates all his choices.

Levi thought of himself as a lesser man than Erwin because of this. Because of the way he wasn't able to set his personal feelings aside in the choices he made. It's why he chose to follow Erwin, because he thought it made Erwin superior to himself. But in truth, it's that quality of Levi's, that deep seated empathy, that makes him the better man. He can't detach himself from his compassion, he can't make choices without considering the consequences and impact of those choices on others, or even without making that consideration the principle factor in his choices, and that's a good thing. That's humanity. That's what makes the world a better place. By caring about how our choices affect others. That's not meant to be seen as a bad thing. Levi's kindness and empathy isn't meant to be seen as wrong.

Levi never betrays who he is, and he never betrays what he believes in, even as everyone around him does, at one point or another. That's true strength, that's true courage, that's true heroism. Someone who cares so much about people that he can't make a choice without factoring in the thoughts, feelings and desires of those people. Levi is meant to be the audience's role model, the character we're meant to want to be more like. Not Erwin. Because no matter how noble the goal we pursue, if we stop caring about each other in that pursuit, it all becomes for naught.

[starryserenade]

Another Fant Drabble (prologue?)

Commentary: AH! I was looking through my docs to try to find a different story I'd left unfinished, and accidentally stumbled upon a prologue I'd written up for the Fantasmic thing. Well, I say that as if both were the same concept. They weren't...necessarily. This one came first...still Parks, I think, but more background lore. Both could technically still work together. I can't decide what I'm going to choose if I continue this story, but I shall share this anyway! (I don't think I've shared it before?)

~~~~~~

What is imagination? 

A passive thought quickly swept away?  Or visions--dreams--yet unseen, seeping into reality in the quietest of ways.  

It’s the beauty of a prayer.  A glimmer of hope.  The impossible wish that whispers, ‘maybe it isn’t so impossible, after all’.   

And then, worn by the world, by its shadows, imagination is the darkest, most dangerous weapon to be found.

It is rare that something so powerful does not manifest a far greater creation.  And, unsurprisingly, manifest something did.  When the first dreamer dreamed, possibility was born.  Though you may better understand this by another name.

Magic. 

The world was shaken to its core and could never have withstood the full force of this new creation.  And so magic took its place in a realm all its own. Fueled by the imagination of those who dared to believe, this realm of dreams grew.  And in return, lent those dreamers glimpses of the stories that emerged within. 

But some dreams were nightmares.  Some dreams were wicked, vile things.  Some dreams had strings pulled by cruel hearts, whose visions blotted the pages of reality in thick, dark ink. Had they been allowed to grow unchecked, they may well have shattered the barrier between worlds, granting them untold power.

Light is not easily consumed by darkness.

Protectors rose to counter the shadows with dreams of their own.  Unwitting though they may have been, their relentless determination to cling to the light of the world was enough. They imagined grand tales in which good and evil might collide...but good would always prevail.  And so imagination--magic--in desperate need of heroes, breathed these stories to life.

There have been countless such protectors throughout the ages.  Some whose tales are known by nearly all the world.  Others who touched but a few, quiet hearts...though those often shine more brightly than any other. But to detail the battles and stories of each and every one would fill a tower of pages to the stars.  

So this story is about the legacy left by just one.  A tiny kingdom within the world you know, where reflections of magic from the realm of dreams managed to slip through...and found a place to reside.  It began with a creature smaller than any other--a miniscule, innocent idea that wriggled through the barrier and into the mind of a Protector in his greatest hour of need. 

And with time, that idea called another.  Then another.  And yet another.  Until this simple imagining summoned countless others by its side.  The kingdom grew, and the light that flowed from it was immeasurable.

But so was the shadow they cast.  

And with every new idea that managed to slip through, drawn in by the tiny, hopeful voice of the first, the gap between worlds widened.

The shadows saw their chance.

And that is where our story begins.

[onelastkiss4you]

Dragon Age: The Veilguard Just Went From A Good RPG To One Of BioWare’s Most Important Games

In light of BioWare scattering some of its most foundational veteran talent to the winds, Dragon Age: The Veilguard sure reads like something made by people who saw the writing on the wall. The RPG leaves off on a small cliffhanger that could launch players into a fifth game, but I’m skeptical that we’ll ever get it. The quickness with which publisher Electronic Arts gutted BioWare and masked it with talk of being more “agile” and “focused” shortly after it was revealed The Veilguard underperformed in the eyes of the power that be makes me wonder if BioWare was also unsure it would get to return to Thedas a fifth time. Looking back, I’m pretty convinced the team was working as if Rook’s adventure through the northern regions of this beloved fantasy world might be the last time anyone, BioWare or fan, stepped foot in it. But that may have only made me appreciate the game even more.

Yeah, I might be doomsaying, but there’s a lot of reasons to do so right now. The loss of talented people like lead writer Trick Weekes, who has been a staple in modern BioWare since the beginning of Mass Effect, or Mary Kirby who wrote characters like Varric, the biggest throughline through the Dragon Age series, doesn’t inspire confidence that EA understands the lifeblood of the studio it acquired in 2007. The Veilguard has been a divisive game for entirely legitimate reasons and the most bad-faith ones you can imagine on the internet in 2025, but my hope is that history will be kinder to it as time goes on. 

A Kotaku reader reached out to me after the news broke to ask if they should still play The Veilguard after everything that happened. My answer was that now we are probably in a better position to appreciate it for what it was: a (potentially) final word.

The Veilguard is just as much a send-off for a long-running story as it does a stepping stone for what (might) come. Its secret ending implies a new threat is lurking somewhere off in the distance but by and large, The Veilguard is about the end of an era. BioWare created an entire questline essentially writing Thedas’ history in stone, removing any ambiguity that gave life to over a decade of theory-crafting. As a long-time player, I’m glad The Veilguard solidifies the connective tissue between what sometimes felt like world of isolated cultures that lacked throughlines that made the world feel whole. But sitting your cast of weirdos down for a series of group therapy sessions unpacking the ramifications of some of the biggest lore dumps the studio has ever put to a Bluray disc isn’t the kind of narrative choice you make if you’re confident there’s still a future for the franchise. 

Unanswered questions are the foundation of sequels, and The Veilguard has an almost anxious need to stamp those out. Perhaps BioWare learned a hard lesson by leaving Dragon Age: Inquisition on a cliffhanger and didn’t want to repeat the same restriction. But The Veilguard doesn’t just wrap up its own story, it concludes several major threads dating back to Origins and feels calculated and deliberate. If BioWare’s goal with The Veilguard was to bring almost everything to a definitive end, the thematic note it leaves this world on acts as a closing graf summing up a thesis the series hopes to convey.

Pushing away the bigotry that has followed The Veilguard like a starving rat digging through trash, one of the most common criticisms I heard directed against the game was that it lacked a certain thorny disposition that was prevalent in the first three games. Everyone in the titular party generally seems to like each other, there aren’t real ethical and philosophical conflicts between the group, and the spats that do arise are more akin to the arguments you probably get into with your best friends. It’s a new dynamic for the series. The Veilguard doesn’t feel like coworkers as The Inquisition did or the disparate group who barely tolerated each other we followed in Dragon Age II. They are a friend group who, despite coming from different backgrounds, factions, and places, are pretty much on the same page about what the world should be. They’re united by a common goal, sure, but at the core of each of their lived experiences is a desire for the world to be better.

This rose-colored view of leftism doesn’t work for everyone. At its worst, The Veilguard can be saccharine to the point of giving you a cavity, which is far from what people have come to expect from a series in which Fenris and Anders didn’t care if the other lived or died. It also bleeds into a perceived softening of the universe. Factions like the Antivan Crows have essentially become the Bat Family with no mention of the whole child slavery thing that was our first introduction to them back in Origins. The Lords of Fortune, a new pirate faction, goes to great lengths to make sure you know that they’re not like the other pirates who steal from other cultures, among other things. I joked to a friend once that The Veilguard is a game terrified of getting canceled, and as such a lot of the grit and grime has been washed off for something shiny and polished. 

That is the more critical lens to view the way The Veilguard’s sanitation of Thedas. To an extent, I agree. We learned so much about how the enigmatic country of the Tevinter Imperium was a place built upon slavery and blood sacrifice, only for us to conveniently hang out in the common poverty-stricken areas that are affected by the corrupt politics we only hear about in sidequests and codex entries. But decisions like setting The Veilguard’s Tevinter stories in the slums of Dogtown gives the game and its writers a place to make a more definitive statement, rather than existing in the often frustrating centrism Dragon Age loved to tout for three games.

I have a lot of pain points I can shout out in the Dragon Age series, but I don’t think one has stuck in my craw the way the end of Anders rivalry relationship goes down in Dragon Age II. This is a tortured radical mage who is willing to give his life to fight for the freedom of those who have been born into a corrupt system led by the policing Templars. And yet, if you’ve followed his rivalry path, Anders will turn against the mages he, not five minutes ago, did some light terrorism trying to free. In Inquisition, this conflict of ideals and traditions comes to a head, but you’re able to essentially wipe it all under the rug as you absorb one faction or the other into your forces. So often Dragon Age treats its conflicts and worldviews as toys for the player to slam against one another, shaping the world as they see fit, and bending even the most fiercely devoted radical to your whims. And yes, there are some notable exceptions to this rule, but when it came to world-shifting moments of change, Dragon Age always seemed scared to assert that the player might be wrong. Mages and Templars, oppressed and oppressors, were the same in the eyes of the game, each worthy of the same level of scrutiny.

Before The Veilguard, I often felt Dragon Age didn’t actually believe in anything. Its characters did, but as a text, Dragon Age often felt so preoccupied with empowering the player’s decisions that it felt like Thedas would never actually get better, no matter how much you fought for it. While it may lack the same prickly dynamics and the grey morality that became synonymous with the series, The Veilguard’s doesn’t just believe that the world is full of greys and let you pick which shade you’re more comfortable with. It’s the most wholeheartedly the Dragon Age universe has declared that the world of Thedas can be better than it was before.

Essentially retconning the Antivan Crows to a family of superheroes is taking a hammer to the problem, whereas characters like Neve Gallus, a mage private eye with a duty-bound love for her city and its people, are the scalpel with which BioWare shifts its vision of how the world of Thedas can change. Taash explores their identity through the lens of Dragon Age’s longstanding Qunari culture, known for its rigidness in the face of an ever-changing world, and comes out the other end a new person, defined entirely by their own views and defying others. Harding finds out the truth behind how the dwarves were severed from magic and still remembers that she believes in the good in people. The heroes of The Veilguard have seen the corruption win out, and yet never stop believing that something greater is possible. It's not even an option in The Veilguard's eyes. The downtrodden will be protected, the oppressed will live proudly, and those who have been wronged will find new life.

That belief is what makes The Veilguard a frustrating RPG, to some. It’s so unyielding in its belief that Thedas and everyone who inhabits it can be better that it doesn’t really entertain you complicating the narrative. Rook can come from plenty of different backgrounds, make decisions that will affect thousands of people, but they can never really be an evil bastard. If they did, it would fundamentally undermine one of the game’s most pivotal moments. In the eleventh hour, Dragon Age mainstay Varric Tethras is revealed to have died in the opening hour, and essentially leaves all his hopes and dreams on the shoulders of Rook. After our hero is banished to the Fade and forced to confront their regrets in a mission gone south, Varric’s spirit sends Rook on their way to save the day one last time. He does so with a hearty chuckle, saying he doesn’t need to wish you good luck because “you already have everything you need.” He is, of course, referring to the friends you have calling to you from beyond the Fade. 

Varric, the narrator of Dragon Age, uses his final word to declare a belief that things will be okay. This isn’t because Rook is the chosen one destined to save the world, but because they have found people who are unified by one thing: a need to fight for a better world. But that’s what makes it compelling as a possibly final Dragon Age game. Reaching the end of a universe’s arc and being wholly uninterested in leaving it desecrated by hubris or prejudice is a bold claim on BioWare’s part. It takes some authorship away from the player, but in return, it leaves the world of Thedas in a better place than we found it.

The Veilguard is an idealistic game, but it’s one that BioWare has earned the right to make. Dragon Age’s legacy has been one of constantly shifting identity, at least two counts of development hell, and a desire to gives players a sandbox to roleplay in. Perhaps, as Dragon Age likely comes to a close, it’s better to leave Dragon Age with a game as optimistic as the people who made it. I can’t think of a more appropriate finale than one that represents the world its creators hope to see, even as the world we live in now gives us every reason to fall to despair.

In my review for The Veilguard I signed off expressing hope for BioWare’s future that feels a bit naive in retrospect. Would a divisive but undeniably polished RPG that felt true to the studio’s history be enough when, after 10 years of development, rich suits were probably looking for a decisive cultural moment? That optimism was just about a video game. Having lived through the past 32 years, most of the optimism I’ve ever held feels naive to look back on. I think I’m losing hope that the world will get any better. But even if we haven’t reached The Veilguard’s idealized vision, I’ll take some comfort in knowing someone previously at BioWare still believes it’s possible. - ken shepard, shepardcdr.bsky.social

[maybe-boys-do-love]

It's wild that the whole global trend of gay-focused happy ending romance shows and movies has only been going on for *looks at calendar* a measly ten years!

Just ten years ago. 2014. That's when you get the discovery of a market for queer romance series and films with happy endings. That year the OG Love Sick in Thailand came out. Brazil puts out The Way He Looks, which deserves so much more credit than it receives for influencing the aeshtetics of the genre. Looking premieres on HBO, and although it had low ratings, it's an important touchstone. And, despite Nickelodeon’s censorship and shifting the program from tv to its website, the Legend of Korra confirms Korrasami in its season finale.

The next year, in 2015, we get Love Sick season 2, and China, pre-censorship laws has a few options: Happy Together (not the Wong Kar Wai one lol), Mr. X and I, and Falling In Love with a Rival. Canada, premieres Schitt's Creek. In the US, Steven Universe reveals Garnet as a romantic fusion between two female characters, and will proceed to just be so sapphic. Norwegian web series Skam premieres and sets up a gay protagonist for its third season, which will drop in 2016 and entirely change the global media landscape.

Then, 2016! This is the MOMENT. That aforementioned Skam season happens. Japan puts out the film version of Ossan's Love and anime series Yuri!!! on Ice. China has the impactful Addicted Heroine, which directly leads to increased censorship. The US has Moonlight come out and take home the Oscar. In Thailand, GMMTV enters the BL game and Thai BL explodes: Puppy Honey, SOTUS, Water Boyy, Make It Right, plus, the Thai Gay OK Bangkok, which, like its influence, Looking, is more in the queer tradition but introduces two dramatically important directors to the Thai BL industry, Aof and Jojo.

By 2017, Taiwan enters the game with its History series. Korea’s BL industry actually kicks off with Method and Long Time No See. Thailand’s got too many BLs to mention. Call Me By Your Name, though not a happy ending, makes a big splash that will send ripples through the whole genre, and God's Own Country offers a gruff counter-argument to problematic age differences and twink obsessions. This is also the year of Netflix reboot of One Day At a Time bringing some wlw to the screen, and the Disney Channel has a main character come out as ‘gay’ on Andi Mack ( I’m am ready to throw fists with anyone who thinks the Disney Channel aesthetic isn’t a part of current queer culture). And I'd be remiss not to mention the influential cult-following of chaotic web-series The Gay and Wondrous Life of Caleb Gallo: "Sometimes things that are expensive...are worse."

All this happened, and we hadn’t even gotten to Love, Simon, Elite, or ITSAY, yet.

Prior to all this there are some major precursors some of which signaled and primed a receptive market, others influenced the people who'd go on to create the QLs. Japan has a sputtering start in the 2010s with a few BL films (Takumi-Kun, Boys Love, and Jujoun Pure Heart). Most significantly in the American context, you have Glee, and its ending really makes way for the new era that can center gay young people in a world where queerness, due to easy access to digital information, is less novel to the characters. And the QL book and graphic novel landscape was way ahead of the television and film industries, directly creating many of the stories that the latter industries used.

There's plenty of the traditional queer media content (tragic melodramas and independent camp comedies) going on prior to and alongside QL, and there are some outlying queer romance films with happy endings that precede the era but feel very much akin to QL genre tropes and goals, many with a focus on postcolonial and multicultural perspectives (Saving Face, The Wedding Banquet, Big Eden, Maurice, My Beautiful Launderette, and Weekend). I don't mean to suggest that everything I’ve listed ought to be categorized as QL.

Rather, I want to point out how all of these new-era queer romance works are in a big queer global conversation together, in the creation of a new contemporary genre, a genre that has more capacity and thematic interest to include digital technology and normalize cross-cultural relationships than other genres (there's a reason fansubs and web platforms are so easily accepted and integrated to the proliferation of these series).

You're not too late to be part of the conversation. Imagine being alive in the 1960s and 70s and participating in the blossoming of the sci-fi genre. That flowering is where gay romance sits now. Join the party.

[lilyprettyremy]

How to Get Out of a Reading Slump:

Let’s be real—reading slumps happen to the best of us. One day you’re devouring novels like snacks, and the next, the thought of picking up a book feels like climbing a mountain. But don’t worry, this isn’t permanent! Here’s how you can reignite your love for reading with practical advice (and a little personal touch).

1. Start Small and Easy

Sometimes, the thought of diving into a big, heavy novel can feel overwhelming. Instead, reach for something light, fun, or even familiar. What Worked for Me: When I hit a slump, I re-read my favorite childhood book. The nostalgia pulled me in, and before I knew it, I was back in the reading groove.

Try This:

A novella, poetry collection, or short story.

A feel-good romance or an easy thriller that keeps you hooked.

2. Switch Formats

Who says reading has to be on paper? Shake things up with audiobooks, eBooks, or graphic novels. Sometimes, a new format is all you need to make stories exciting again. What I Loved: Listening to an audiobook while walking felt like having a friend tell me a story. It’s low-pressure and immersive.

Try This:

Download an audiobook for your commute or chores.

Explore comics or manga—they’re visually engaging and quick to finish.

3. Create a Cozy Reading Ritual

Make reading feel like a treat, not a task. Set the scene: grab a warm drink, snuggle up in a cozy blanket, and turn reading into a moment of self-care. What Helps Me: I light a candle, sip some tea, and read for just 15 minutes. Even if I don’t feel like continuing, I’ve created a moment of peace for myself.

4. Ditch the Guilt

If a book isn’t grabbing your attention, it’s okay to put it down! Life’s too short to force yourself through something you’re not enjoying. What I Do: I keep a “second chance” stack of books I didn’t finish but might come back to later. It takes the pressure off and lets me move on guilt-free.

Pro Tip: Give yourself permission to stop at any time. The right book will find you when you’re ready.

5. Set the Mood with Your TBR

Sometimes a slump happens because you’re not in the mood for what you’ve been reading. Change it up with books that match your current vibe. My Recent Trick: When I wanted cozy, wintery vibes, I picked up a snow-filled mystery, and it fit the season perfectly. It felt like I was part of the story.

Try This:

If it’s cold, go for a winter romance or mystery.

Feeling adventurous? Pick up a fast-paced fantasy.

6. Buddy Up

Reading doesn’t have to be a solo activity. Share the experience with someone who loves books as much as you do. What Worked for Me: My friend and I read the same book and texted each other our reactions. It made the whole process so much fun, and we got to geek out together.

Pro Tip: Join a book club, even if it’s online! Goodreads or apps like Fable make it easy to connect with other readers.

7. Take the Pressure Off

Sometimes, we fall into slumps because we set unrealistic expectations for ourselves. Forget about reading “x” number of books or finishing by a certain date—just read what you love. My Perspective: I stopped tracking my reading goals for a while and focused on enjoying the stories. That shift in mindset made all the difference.

8. Revisit Your Why

Ask yourself: Why do you love reading? Is it the escape, the knowledge, the way stories make you feel? Reconnecting with that "why" can reignite your passion. 💡 What I Remind Myself: Reading isn’t a chore—it’s a gift. When I focus on that, it stops feeling like something I “should” do and starts feeling like something I want to do.

9. Explore a Different Genre

If you’ve been stuck in the same genre, it might be time for a change. Trying something new can surprise you and pull you right back in. My Experiment: I went from contemporary fiction to fantasy and felt like I’d rediscovered the magic of reading all over again.

Pro Tip: Ask for recommendations in genres you don’t usually explore!

10. Go Easy on Yourself

At the end of the day, slumps happen. Don’t stress about it—it’s just a phase. The books will always be there when you’re ready. My Advice: Take it slow, experiment, and most importantly, enjoy the journey. Sometimes, stepping away from reading for a little while can also recharge your love for it.

Getting out of a reading slump is all about finding what sparks your interest again—whether it’s a cozy atmosphere, a gripping audiobook, or a change of genres. Be patient with yourself, and remember, it’s not about the number of books you read but the joy you find in them. So go ahead, grab that book, and take it one page at a time. You’ve got this!

[romnianistan]

It's a bit hard to articulate it because it's just a hunch that I have. The thing with Jane Eyre is that the main character (it's a first-person pov) is a painter and she has these very vivid descriptions when it comes to nature and the passing of time. For example this is how she describes summer:

"It was not a bright or splendid summer evening, though fair and soft: the haymakers were at work all along the road; and the sky, though far from cloudless, was such as promised well for the future: its blue- where blue was visible- was mild and settled, and its cloud strata high and thin. The west, too, was warm: no watery gleam chilled it- it seemed as if there was a fire lit, an altar burning behind its screen of marbled vapour, and out of apertures shone a golden redness." (chapter 22)

and this is how she describes the winter/spring transition:

"Spring drew on: she was indeed already come; the frosts of winter had ceased; its snows were melted, its cutting winds ameliorated. My wretched feet, flayed and swollen to lameness by the sharp air of January, began to heal and subside under the gentler breathings of April ..." (beginning of chapter 9)

those descriptions can be characterized by these three features:

personification of nature, emphasis on the agency of nature (nature is not passive in any sense)

description of nature and time is used to bring attention to the narrative and to the mental/physical state of the character

description of nature and time often happens at the start of the chapter, to set the scene

those 3 features are pretty specific to jane eyre; i haven't read all of 19th c british literature but those descriptions are really representative of charlotte bronte's style compared to, say, charles dickens for example (another writer jkr has obviously read and drawn inspiration from)

and those 3 features also characterize the way JKR uses descriptions of nature/passing of time in HP. this quote has it all:

"October extinguished itself in a rush of howling winds and driving rain and November arrived, cold as frozen iron, with hard frosts every morning and icy drafts that bit at exposed hands and faces. The skies and the ceiling of the Great Hall turned a pale, pearly gray, the mountains around Hogwarts became snowcapped, and the temperature in the castle dropped so far that many students wore their thick protective dragon skin gloves in the corridors between lessons."

but that's just how she generally describes the passing of time, even when she uses less words. for example: "As a dull March blurred into a squally April, his life seemed to have become one long series of worries and problems again." (that quote goes so hard) (both of them are from ootp)

both jkr and bronte use descriptions of nature work as a narrative device in the exact same way. i don't think it's too far-fetched to assume bronte influenced her writing style as i'm convinced jkr has read jane eyre (it's jkr, come on, ofc she's read it) (i'm also convinced jkr has read wuthering heights and you can see this in hbp. i should re-read wuthering heights but in english this time cause maybe there is some stylistic influence too idk)

Descent.

[literaryvein-reblogs]

Hello! Hope your day is going alright. I was wondering if you have any advice for when all characters feel the same? Despite having different core traits and mannerisms, when I write them it always somehow ends up feeling like they're copy pastes of one another to me. I noticed that I've been having a hard time with giving my characters agency too which led me to wondering if that isn't causing the former issues.

Thank you for taking the time to run this blog and help so many people, cheers!

Writing Notes: Character Identity & Agency

Identity chart. Example:

What parts of themselves are influencing their decisions in your story? Familiarize that part of their identities.

Try to maintain the truth of the group and to simultaneously think of your character as an individual.

Thinking about why your characters behave the way they do and why they make certain decisions is important to writing a good story.

The plot moves along because of the decisions your characters make.

Be honest with yourself and what you know and don't know, do some research and ask for help, you'll create more authentic characters that way.

Your Character's Agency. Some writers prefer to map out their story but allow their characters to help lead the story.

This technique is more often used by "pantsers".

A pantser is a term most commonly applied to fiction writers, especially novelists, who write their stories "by the seat of their pants."

The opposite would be a plotter, or someone who uses outlines to help plot out their novels.

Many writers fall into one camp or the other, though it's not uncommon for writers to try both methods from book to book.

Author Victoria Schade describes giving her characters agency:

...I kept stressing out about a specific plot point I couldn’t untangle, and over time my characters slowly revealed the answer to me. It wasn’t an “a ha” moment, it was a gradual realization, and when it all came together I couldn’t help but think, “It was there the whole time!” But that’s the beauty of letting characters have agency and giving them an active role in the writing process—they surprise you!

It pays off to let characters have agency, she has found, particularly in the drafting process.

WRITING TIPS. When creating a character, try to understand them so that their actions and words are consistent with their personality and history.

Who we are is at least partly hardwired, inherited from parents and grandparents.

A lot of those characteristics like how extraverted or introverted someone is, how open or private they are, how conscientious or empathetic or neurotic they are is there in a child’s brain.

Knowing those basic characteristics could help you understand where a person has come from.

But those traits are plastic; they are moulded by experience and especially childhood.

Writing a backstory for a character helps the writer make certain that even confident social behavior (from an introverted character) is different from the social behavior of an extravert.

No personality trait is better than another, extraverts don’t have easier lives than introverts, conscientious people don’t do better than slapdash people.

Everyone struggles with their own nature in the wrong settings.

Of course, writers delight in putting them in the wrong settings.

Understanding motivation is crucial to developing a character, most writers do this automatically.

They may have a plot-driven goal (solve the crime, deliver the ring, marry the hero), but they also have

personal motivations (revenge against a killer, loyalty to comrades, love or loneliness).

Example: You don’t want a shy, lonely character to suddenly propose a karaoke night, because the reader won’t find it believable. Maybe she has to be talked into it, dragged even!

When creating main characteristics, it’s worth jotting down a personality sketch and basic history.

Smaller characters are just as important.

It's okay if you don’t delve into their history much, but you don’t want them to be stereotypical characters, just ciphers for the plot.

These smaller characters are great opportunities to reveal something about the main character, as they are seen through their point of view.

Example: A confident person meeting a surly waiter might challenge them, or ignore it. An anxious person might blame themselves.

We are interested in people and how different they are from us.

Stories of extraordinary life experiences draw us in.

We want to learn about personality traits that we don’t understand, like psychopathy or obsession, which explains the popularity of true crime books and fiction about murder.

Human beings are varied and interesting, we like to understand what they do.

A death, a divorce, a lost job, a miscarriage, all lead to a fresh start—it’s a brilliant trope, because we all experience them in our own lives.

Characters are revealed to us as they struggle and adapt, make new choices, build new relationships.

People don’t move on cleanly; they trail the past around with them for years.

Allowing a character to experience doubts and fears going forward makes them more relatable, more realistic.

Our senses produce a lot of memories.

The most evocative are smells.

We can activate memories from our childhood, even babyhood from a scent.

Example: Smoke from pipe tobacco can evoke someone's grandfather, who they hardly knew because he died when they were just a toddler. But the smell could bring back the sound of his voice and his bristly beard, huge leathery hands.

The "Read a lot" Writing Tip:

Read psychology articles and real-life stories, just to enrich your fiction.

As writers, we collect stories.

Sources: 1 2 3 4 5 ⚜ More: References ⚜ Writing Resources PDFs

Thanks so much for your kind words! Try some of these tips and see which ones work for you as a writer, or perhaps for that specific story you are currently writing. Some writers don't find it necessary to give their characters agency, but it can work at times. When characters start to feel "the same", one technique is using charts like this, or templates, just to help with keeping track of your characters' traits and further differentiating them from one another. Hope this helps & have a lovely day/night as well.

More References for Character Development

Some Writing Worksheets & Templates

[mirjam-writes]

So. We've already established that when Aziraphale said nothing lasts forever, he meant that he would give up his bookshop to be with Crowley, and Crowley took it to mean Aziraphale would give up him for Heaven. But I think the same happened with Aziraphale in regards to Crowley's refusal to go with him.

The story began with Crowley being incredibly happy creating his star machines. Now, Aziraphale knows Crowley hasn't been that happy recently, living in his car and being miserable and grumpy. And he loves Crowley, so he wants to see him to be happy again! As happy as he was back in the beginning of time! He keeps insisting Crowley could be his second in command, and... what if Aziraphale, in turn, thinks Crowley is saying no to that instead of Heaven? What if Aziraphale also thinks Crowley just didn't love him the way Aziraphale thought? He knows Crowley has been lonely (that dicussion in Job broke my heart), but here we see Crowley choosing that lonelines instead of Aziraphale's company. Making stars was the happiest Aziraphale has ever seen Crowley, and he has a tendency to oversimplify things and not think things through when he has set a goal. He's stubborn to a fault, he speaks French in the human way! This whole season was full of refrences how Aziraphale thinks he can just make people happy if he tries well enough. I bet he plans to do that in Heaven too. He'll make that place happy, or else. He has a lot to learn.

Both of them go off believing the other didn't love them as much as they thought, because they completely failed to understand each other. It's as if they are in love with their imaginary versions of each other, which are pretty close to the real thing, but not quite, and they stumbled upon that 'quite' real hard.

[lurkingshan]

Japanese QL Corner

We have officially entered another bangers only era for Japanese queer media; I am loving all of these currently airing shows. These are all streaming on Gaga or provided via fansub (feel free to ask if you don’t know where to find them).

Our Youth

This show is killing me with the quiet yearning and the push and pull and Hirukawa's whole entire deal. The way Hirukawa and Minase keep drawing closer together before stepping back. The way they have created their own little bubble in Minase's home, and how they can't be that way together in other spaces. The way Hirukawa is so desperate to be close to Minase and Minase clearly wants it too, but doesn't really understand himself yet and so keeps rejecting it. I was so sad when Hirukawa admitted he provoked his dad on purpose so that Minase would let him back in; I hope Minase will ease off on the barriers from here on out. I know something bad is coming and I just want them to have a little bit of happiness before we get there.

Love is Like a Poison

The battle couple was tested this week as we finally found out Haruto's connection to this case with an assist from the lady restaurant owner, his past as a con artist was revealed to Shiba's employer, and Shiba's boss demanded that he cut ties. I was so very proud of Shiba when he did not waver about what is most important to him, and worried when Haruto took off and left his ring behind. I'm keeping the faith, though; I don't think Haruto is leaving Shiba.

Love in the Air Koi

Okay, first of all, let me get a scream out about that sex scene, because good god did they deliver. Nagumo Shoma is a gift to us all (I will be seeing that back roll in my dreams), and I thought their chemistry now that Rei has figured himself out was fantastic. The whole sequence from the time they left the race track was beautifully shot and performed, and the intimacy felt very real. Aside from the sex, one of the things I like most about this narrative is the belief that a relationship can be the reason you get your life together rather than a distraction from your goals. Rei has all the skills, but he's been lacking focus and drive, and that's exactly what Arashi is giving him. I really liked the way this episode weaved their different subplots together to show them both working toward something, and how their success brought them together in the end. They are good for each other! I also really loved all the Rei and Kai moments in this episode, and that Kai continues to be a perceptive and supportive friend. Kai's own story is coming soon, and we got our first glimpses of it at the end of today's episode. I'm impressed with how this adaptation has streamlined the story to cover every important beat in half the time without ever short changing the relationships.

The Fragrance You Inherit

This week Sakura was reunited with her long lost love via their scheming children, and I loved every minute. My favorite thing about this drama is the relationship writing. Sakura and Toki have such a lovely bond, and I like that he realized after surprising his mom with Mone that it may have been insensitive, and that he cared enough to check in with her about it. Sakura is also a great mom, supportive of his relationship and sensitive to his feelings even as she is grappling with her own shock at this reunion. I also really love that Sakura has such a good friend in Ryosuke (who continues to flag as queer to me). I'm excited to get to know Mone better as an adult and see where the story takes us. You can find the show here, with big thanks as always to @isaksbestpillow for providing English subs.

[gummilutt]

250 followers Custom Memory Bonanza

It's finally time! To thank all you lovely people for your support, I have been working hard to get this ready for upload and here we are. Today I am sharing my custom memory object, and my library of a whopping 201 custom memories. Based on the wonderful Tattered Diary by DiLight over on MTS, and the tutorial she shared of how to make your own custom memories.

I've always cared a lot about memories, to me they tell the story of the Sims life. Some of you from MTS may recall when I did the whole several year rebuild of my hood, replicating every last detail of the original. I'm memory crazy, okay? And when DiLight gave me the power to make my own, I may have gone a tad overboard. Or just the right amount, you get to decide :P DiLight taught me most of what I know about making custom memories, and the base BHAVs are from her, but as I've learned more I've added some bells and whistles that I hope you will enjoy. It's a new clone and separate GUID from the original tutorial object set up by DiLight, so if you have your own you can have mine too without issues :) Found in misc/misc, costs 1 simoleon.

Download on simfileshare

Features - Brand new form, created by me. Resized BV photo album with new mapping and new texture (seen above, in game pictures at the end of this post). I wanted something that was uniquely mine, and that you don't necessarily have to hide away in the attic or under the foundation. If you don't like it, you also have some additional model forms you can switch between through the pie menu. - Adaptable dynamic menu. Thanks to a really neat trick from @picknmixsims the menu reflects the memories you put in your downloads. If no file with the correct guid is found, the option for it won't show. Which means that although I am crazy enough to have 201, you can go ahead and only pick your favorite ones and the object will automatically detect and adapt the menu to that selection. - Memories all have a custom icon, that's made from game icons from TS2 or TS3. Some I am quite proud of, some are admittedly not great. Not everything is easy to convey through game icons, but I've tried my best, I hope the effort shows. 5 memories have icons that are not from the game, but I tried to match them to the aesthetic as best I could. - Memory subject menu shows only relevant age groups. For example, if the memory is about having a baby, only baby/toddler Sims will show as options. Goal being to keep menu as concise as possible. If you wish to assign memories retroactively, please see jonasn's excellent Memory Commander object, which has support to add my custom memories without age limitations. As well as a whole lot of other useful memory-related stuff. - Extensive documentation detailing everything you may need to know about the memories (text, icon, background, who can get it, who they can get it about, repeatability, where to find it on the object) to help you select the ones you want for your game, and familiarize yourself with them. - English and Swedish translations of memories, and object menu. If someone wants to add their language, that would be great but it's a lot of work so I don't expect it. You are welcome to share your translated versions directly if you wish, or you can send them to me for me to update files shared here :) If you want to learn how to translate the files directly, Episims has a great tutorial found here.

Examples of types of custom memories included - Extended family members memories (got cousin, got aunt/uncle, got sibling, got twin sibling, got great grandchild, got stepparent, got stepchild) - Birth related memories (pregnancy, becoming parent, late in life parent, had multiples birth, premature baby) - Marriage related memories (divorce, parental divorce, custody things, alimony) - Relationship related memories (fighting, breakups, additional love memories) - Woohoo related (memories for specific woohoo locations, repeatable generic woohoo/public woohoo) - University degree related (declared major memories, got a minor degree memories, got a major degree memories, for remembering having studied multiple things and being able to see what major your Sim chose without looking at their diploma) - Loan related, for remembering taking and paying off loans of different types - Moving memories (first apartment, child moves out, various memories for sims moving in with others) - Kids related (child's first day in school, got their own pet, nursery rhyme, giving up for adoption, living at orphanage)

Mods automating delivery of my CC memories (more to come) Learned nursery rhyme from - Found here, by me Wrote restaurant guide - Found here, part of jonasn "Novel Writing Improvements" mod

Credits: DiLight, @picknmixsims, @morepopcorn, @latmosims, @joplayingthesims, maxon, @keoni-chan. For detailed info on how they all impacted the creation of this, see readme :) Policy: Give credit to DiLight, beyond that, totally open. Enjoy!

[tabithatwo]

are we ready to talk about shauna's barely hidden but somehow very ignored psychosis and how it, like a ton of her other qualities, is brushed aside by both those around her and the audience? like, i think its clear that a central focus of the show is the way lottie is the only one who got stuck in a facility (and natalie in and out of rehab being the next closest to reckoning with her shit) when the rest of them are very clearly not okay. as a certified Crazy Girl, i've been weary of how they'll handle lottie's story line (blurring psychosis and the supernatural is a very delicate and tricky thing and thus far i've been sort of just waiting to see where it goes). our data on and understanding of mental health is incredibly limited for a lot of reasons (but that's a rant for another time) but there is a large mainstream misconception of when hallucinations and delusions can happen. psychosis isn't just something that happens in schizophrenia and its very complex, so if you want to learn more there's plenty of info out there i'm not going to get into it here, but it happens in a lot of other cases. psychosis is, most simply put, a loss of contact with external reality. ptsd can cause psychosis, especially auditory and visual hallucinations.

so shauna is shown to have these experiences and i didn't realize that they were being so heavily overlooked by a large amount of people until the reaction to the scene where she beats lottie nearly to death. shauna is introduced in s1 as having hallucinations of jackie 25 years later. she is shown to disassociate. in 207, she both holds the baby's body and believes the delusion that they ate the baby. the episode shows her fighting the delusion until she can't anymore. meanwhile, adult shauna tells lottie she keeps callie at arms length out of "fear that she would die...i guess? or maybe that she was never even...real to begin with." then she adds "i think something is broken, lottie." implied: she's broken. something is wrong with her. this is the is the most honest about her mental state we've ever seen shauna be.

why? because lottie has always been and likely will always be perceived as crazier. lottie is the one they pin it on, lottie is the cult leader both then and now, lottie is the scapegoat, lottie is the one who got sent to switzerland. i think there's something to be said for the effect lottie has on people (again, a whole other post) but honestly, that alone is enough. shauna is feeling vulnerable for a lot of reasons and she can tell lottie that she thinks she's crazy, that she's never quite sure her daughter exists, that she's constantly afraid she'll die to the degree that she doesn't let herself interact with her in a real, tangible way, because it's always safer to tell the crazy girl you're crazy, too.

and lottie knows. shauna knows that. lottie clocked her psychosis almost immediately, when she was in the meat shed for all hours. the other girls were shocked by the makeup, and their shock was so fucking strange to me when i watched it, but now on reflecting i'm realizing maybe its the lottie effect. like, have i done the shit shauna has? abso-fucking-lutely not lol. but does my mind work in a way where i immediately would assume shauna was doing something along the lines of the shit she was doing out there, because to me its like...what else would it be? yeah. like sees like, in a way. lottie knows what this looks like at baseline, even if its coming out way different in shauna. even if in shauna it looks like aggression and violence a lot of the time. lottie gets it.

jeff doesn't get it, he thinks strawberry lube is too wild. taissa gets it to a degree, and we see shauna be the second most open with her, but tai suppresses and hides it a degree that she wouldn't dare step foot in a therapist's office (this is yet another thing that makes me crazy but is a whole other post lol). shauna's main goal in this life she's created is pretending to be normal. and she's like, impressively bad at it. but people let her, because what else are they going to do? addressing the clear issues is taboo, because we categorize people so heavily. she masks better than lottie, but it's fucking wafer thin. you see this when she interacts with people who aren't her family or the other yjs. the way she speaks to the taylors? to adam? shauna is only sometimes masking passably when she's in her set world, where she has a routine, and is surrounded by people she only has to half-convince of her sanity.

if shauna is honest about the level of psychosis she experiences, she knows she'll end up like lottie. and i think there's an argument to be made that the people around her (which at this point in her life is pretty much just jeff because she's done another common thing and insulated herself from other people, re: the way she behaves being clockably off to others who won't overlook certain things or can't relate) understand that too. it can't be addressed, because then in their minds there must be action of some kind if it is. (taissa yelling you're acting crazy, shauna is one of the most purely terrified moments we see of her in relation to shauna, because she knows she's admitting something. jeff yelling something to the same effect after the carjacking, same thing.)

the person we see try to get shauna to open up about it is callie. her teenage daughter, who bares the brunt of her difficulty maintaining reality, (who knows that shauna has never accepted her fully as her child, and seems to actually sense that there is a deeper reason for that), asks her to open up. she tells her after the club scene that she knows something is wrong. she even mentions jackie directly. she spends all of s2 trying to relate to shauna, to get her to be open with her about everything. there's no way shauna's trauma and psychosis and general issues have gone unnoticed by callie. daughters always know. they see it in their mothers before they even have a concept of the world. so we're watching a 16 year old try to get her mom to open up, because she doesn't understand fully why that's so dangerous to shauna. to callie, it may even be a secret she thinks other people are in on that she's being left out of. i think maybe she's realizing that it isn't personal and that shauna is guarded like this in general, and we're watching that happen.

callie is learning to care for and relate to her mother and she doesn't see why shauna won't let her in, because to her it's an innate truth that she'll be by her side no matter what (if only she'd let her be). she has unconditional love for her mother and that is the scariest thing in the world to shauna, because the last person who had unconditional love for shauna died because shauna didn't know what to do with it. a baby she never got a chance to meet in reality could've replaced the love that jackie gave her, and shauna was maybe starting to look forward to that, but that ended before it began. so twice shauna has killed that figure in her life. the one who loves her wholly and for who she is, which is terrifying to shauna in it's own right (she tried to take that away from jackie in their last moments, maybe you never really knew me, because that would be easier. shauna can't handle someone really knowing her because she can't handle really knowing herself because, again, that means addressing things that go unaddressed). and she doesn't plan on killing that figure again.

(if callie's even real, because the baby wasn't real when she met him and jackie wasn't real every time she's talked to her in the last twenty-five years, so who the fuck is to say callie is real?)

[stardustamaryllis78]

I was thinking about Zubeia's info dump about Aaravos and how she calls him a villain for "pulling strings and causing all the world's crisis."

But then I started to think about in season 7 and the conversation between Aaravos and Ezran where Ezran says, "Your crimes cannot be counted Aaravos. But they're remembered by your victims throughout Xadia." Aaravos responds, "It seems you have already decided upon my guilt." To which Ezran responds, "Guilty or not, a king must look into the faces and hear the words of those he judges. Aaravos, what do you have to say for yourself?" Aaravos replies, "I am innocent."

And remember, Aaravos can only tell the truth whereas Zubeia is capable of lying.

So then I started to think about the rest of the conversation and how Aaravos states that the reason he "betrayed" the Dragons and the Elves is because he gave humans magic. This is even backed up with Sol Regem and Rex Igneous calling Aaravos "Betrayer".

So, at the end of the day, it would appear that Zubeia was incorrect about her claims with what Aaravos had done. Aaravos appeared to have been aiding humans, especially humans with magic he gave them but saying he created every world crisis is just outright wrong. Especially as, after he was imprisoned, many crisis' still occurred. He was literally hated for giving magic to what Dragon's and Elves considered to be lesser beings.

Now of course, there is the whole "compromise" thing where of course Aaravos can control Dark Mages if he so wishes but let me put this to you, why didn't he control Viren when he first saw him? Why work with him instead of outright controlling him? Plus, before Callum was purified of Dark Magic, Aaravos possessed him once so he could talk (roast) Team Zym before he dipped, why not just control him there and then? It would appear that Aaravos does not use Dark Mages as vessels very often, if at all, unless he really has to. A back up if you will. Aaravos likes to plan things ahead after all.

Another thing to think about is the fact that literally everyone was saying that if Aaravos was released from his prison, all hell would break loose but what really happened? A few spirits were released and he killed the Archdragons. Aaravos' main goal is to take down an unjust Order even if that villainizes himself.

In conclusion, it seems like at the end of the day, Zubeia's story was heavily exaggerated and Aaravos' biggest "crime" was giving magic to suffering human beings.

Has Aaravos committed crimes? Yes. But a lot of characters in this show have. And at the end of the day, Aaravos taking out the Cosmic Order for a world of equality is actually a good thing in the long run. Even if some of his methods of going about it are questionable.

Thank you for coming to my TED talk.

[gffa]

TALES OF THE EMPIRE wound up being a mixed bag for me, there was a lot I enjoyed but there was a lot that just felt really unfulfilled. Morgan's episodes were very pretty to look at but I couldn't help thinking--the entire time I was watching, even--that Filoni's not great at creating new characters that can carry entire episodes like this, none of this felt particularly necessary or like it was fulfilling a void that I wanted to know more about. It doesn't help that I still think her arc in live action was badly handled, that if she was meant to be a Nightsister from the beginning, her first episode should have dealt with that, instead of springing it on us later, so when filling in the background of her on Dathomir in TOTE, it brings all that up for me again.

Morgan's first episode was so pretty and it was interesting to potentially get more Dathomir lore (even if it's incredibly thin and I felt it was too close to the "we see others suffering in the galaxy, but we don't want to get our own hands dirty by fighting for other people or getting involved in helping others, btw we're morally better for that :)" trope for me personally) but everything on Corvus just felt superfluous to me and I spent time trying to figure out why I felt that way. If they had done her story this way or that way, would I have enjoyed it more? If they had included this or that, would I have thought it more necessary?

And ultimately I just kept coming back to that I don't really care about Morgan Elsbeth enough that I wanted three animated shorts dedicated to her, when I could have had so many other characters get fleshed out better. I appreciated that they were showing two characters on opposite journeys, that Morgan was falling into the dark step by step, while Barriss was slowly clawing her way out of it, but that's about all that I appreciated of Morgan's story (other than the beautiful animation).

But I'm not sure I feel like Morgan's motivations were all that well planned out. It's clear that she's looking for revenge and trying to find a new family at the same time, but it's not really clear why she's working with the Empire or how she thinks this leads her to her goals. Grievous is the one who murdered her village, how does working with the Empire (as the Separatists were folded into the Empire, too) achieve that goal? Who or what is her revenge focused on? Is it that she just wants the whole galaxy to burn, because if her village burned, so should everyone else? I feel like that's probably what they were going for, but that it could have been more coherently written.

Barriss' episodes hit a lot harder, where I'm glad that she at least got an arc, but I feel like it just missed so many marks, like why even have Vader there, I'm all for gratuitous Anakin cameos, he's my trash can man and I'm always excited to see him, but absolutely nothing was done with him, despite that he was looking Barriss right in the face there. Not even a moment of showing the audience, "Oh, his soul is so far into the dark of fear, hate, and rage that he doesn't even care about her anymore." Just nothing there, like there was no connection at all. How do you go to the lengths of putting Vader in a scene with Barriss and then treat it like there's no history between her and Anakin??? So completely unsatisfying!

And then it's another series where other guest appearances would have made sense--Barriss has a whole unfinished story with Ahsoka and you don't include her here? I'm as tired of Filoni putting Ahsoka in everything as anyone else, but here it would have made sense and would have brought that relationship full circle on-screen, Barriss' betrayal of her and her clawing her way back to the light after all the trauma and hurt, there's so much she and Ahsoka would have between them. And then nothing.

Or Barriss' relationship with Luminara, TCW never really got into how that must have felt for Luminara, to have her student betray the Jedi so profoundly, for her to fall to the dark, there's such a well of potential there and it's just entirely ignored. She mentions Luminara once and it was a lovely mention, but there's no sense of resolution or completion to that arc.

I did enjoy her story with Lyn and I try not to compare what the show wanted to do with what I wanted the show to do, but I couldn't help it. During all those scenes, all I could think was that this could have been so much more powerful and complete if it had focus on Barriss' established relationships and characters I already care about, because a new random Inquisitor is just not going to hold the same weight for me as my pre-investment in Ahsoka and Luminara. (On the other hand, with the way they butchered Luminara in the last season of TCW, maybe I dodged a bullet!)

For all that negativity, though, I really loved that Barriss found herself in being a healer again, that she found the light again. That's all I've wanted for my girl!!!! (That and put a headdress on her, ffs.) I legitimately took in a hard breath when she said, "Then you have one more Jedi to deal with." because Barriss is still working through too much to fully come back to clarity re: the Jedi at that point , but when it really came down to it, when she really saw what the dark side really was, part of her still was a Jedi. And the way she spoke of her time as a Jedi, once she had a clearer, lighter head again, was sweet, I was so surprised that we got that much from her, but I'm so glad because, if nothing else, Barriss herself deserves to be in the light again.

The way she was settled into her own skin by the time she confronted Lyn on the icy planet, the way she genuinely wanted to help her, but wouldn't let her hurt innocent children, the way she could sidestep Lyn's predictable moves and could stop the blade with just a hand held out, she found her path and what she wanted to do, and oh it was so lovely to see Barriss finding herself again. I loved so much that her unshakable compassion did reach Lyn, it was such a satisfying arc for Barriss to reach that place after all the people she'd hurt. I loved so much that Barriss getting back to this place does a lot to remind us that her foundation is a compassionate one, even if she was lost to the dark for awhile.

I just wish that there had been acknowledgement of those she hurt, the people that died because of her, the betrayal she stabbed people in the back with, rather than just "sees the dark side is bad, walks away, finds the light again", which goes back to that this feels like a generic story that's mostly impactful because I'm filling in the gaps myself because I already know Barriss as a character, rather than that it continues the story that was previously told about her.

At the end of the day, I enjoyed it and I recognize that I'm being a little unfair in how I'm saying I wanted this, this, and this, rather than digesting what the show itself wanted to do, but when you're crafting two stories that are specifically about showing us the journey of two characters that originate elsewhere, you're drawing on the stories from those other origins--except TOTE decided to only halfway do that. There's a lot to love in these shorts, the animation was incredible, the voice work was incredible, Barriss' emotional journey was incredible and I'm so thankful that they even gave her any kind of compassionate resolution. But the specter of how much the shorts ignored hangs over it too heavily for me to say that they were anywhere near what they could have been imo.

[sophegg]

hey. I know everyone is feeling a lot of things right now and most of them aren’t great, but it’s okay to still acknowledge that at its core, the QSMP was a good idea. it may have been managed poorly and my heart goes out to all the admins that worked so hard for nothing in return, but they worked so long and so hard for a reason: they truly loved and believed in the concept. even if you no longer feel comfortable engaging with the project or content about it going forwards, we owe it to all these people who worked so hard to acknowledge that the stories and characters and builds and puzzles they created were AMAZING. I wish they were able to create these things under better conditions, but I’m not going to go back and say everything about the QSMP sucked.

the whole goal of the QSMP was to bring communities together, and translation software was well developed to do so. we now have an extension that right now is allowing Portuguese speaking and Spanish speaking chatters to watch and enjoy their favorite CCs compete in Liar Liar on the Tubbathon, even though they are speaking English. it’s led to so many English speakers being inspired to learn a new language and to watch non-English speaking streamers, and so many friendships across language barriers have formed. we can and should discuss the problems with the server, but we can also reflect on all the good that has come from it.

[utilitycaster]

feel free to ignore if you feel like it's too theoretical/parasocial/etc. but: I see how the campaign as a whole is off because of how lack of prep influenced the cast to create somewhat unfit characters, but as someone who got immensely annoyed by this episode, I'm wondering why has that throughline carried out for so long. why haven't the cast decided to start playing their characters in a way that leads to a more cohesive and satisfying story? is the hesitation and bizzare opinions on gods a very dedicated RP choice or do you think the players themselves are also at a loss? I'm honestly very confused about that, given how driven and decisive they played VM and M9 during their oneshots. I don't want to feel like I'm singling anyone out to hate but e.g. the way taliesin plays caduceus vs ashton is particularly puzzling to me.

Hey anon,

This is all highly speculative (as, to be fair, was the original idea the cast was given very little information, and that turned out to be right) but I think it's the far-reaching consequences of that initial lack of prep combined with the fact that it's been a very central-plot focused campaign that failed to allow the characters to develop into more decisive people. It also, I think, centers the Ruidusborn such that I suspect a lot of the rest of the table is taking their lead.

The Mighty Nein, we know, involved a lot of prep with Matt specifically offering feedback and vetoing certain aspects. Every character came in with pretty clear goals, and because it was a character-driven campaign we got to see those goals change as they learned more: Caleb and Fjord notably abandon their original goals in favor of new ones. Veth and Caduceus achieve theirs; Jester as well, and she develops new ones as she becomes less sheltered. Beau and Yasha's exact goals were much more nebulous, but they have the opportunity to confront their pasts at length and find new purpose and peace throughout the narrative. I don't think it's productive to rehash everything every time but: lack of pre-existing long-term relationships and more work on the short-term friendships that existed, the fact that Beau and usually Molly due to Yasha's absences (and later Caduceus) were free agents who didn't know anyone prior to their meeting, and the fact that the party had like 2 gold to their name and had to double up in odd configurations plus their willingness to engage in conflicts led to a fairly quick and deep bond, which also influenced their goals and dynamics.

Vox Machina were initially very generally sketched out characters, but after they began doing more there was a similar effort put into to backstories, and I think going back after they'd already played a bit meant they knew more about who they wanted these characters to be. The pre-stream plot, as we can tell from the origins comics, was also heavily backstory focused; the Briarwoods arc is when most people feel the streamed campaign really takes off.

We have seen the backstories of the characters of Bells Hells, but a lot of them are deeply tied into a long-running main plot that doesn't really allow for the same development over time. Like, Percy, for example, actually does his "plot" about quarter of the way into the campaign; but this kickstarts his development. Fjord is rather similar; he learns the source of his powers quite early on, but grapples with them until the halfway point and then the rest of the campaign is him embracing something new. To compare, I suspect Laura envisoned Imogen's story as being not dissimilar in the sense of "learn what my powers come from, find a way to better control or perhaps get rid of them" and so upon finding out this is the lynchpin of the entire plot, Imogen never has that post-resolution time to cook, essentially. Even for those who had slightly more rewarding plot beats they kind of felt like "let's address this problem so we can get back to the moon stuff" (Chetney, Laudna) and in some cases, I think it felt to the players, rightly or wrongly, like those plots were actively rushed to the point that they couldn't explore them (I suspect this happened for Ashton during the solstice split). There's been a hurry-up-and-wait sense of urgency over the whole campaign because it's a plot that was introduced very early and has never let up. There's been no "what do we do" type breaks and I'd be shocked if there are. We've sort of run out of plot because we've speed run everything that would have been a plot in a different campaign.

So I think the players don't know how to evolve their characters because there's been no in-world impetus to evolve, really. Now, as someone who prefers to play people who are already decisive, the fact that most of the cast went for kind of indecisive/impulsive types isn't my bag, but that is valid; but it means no one's really had the chance to organically move from that.

I also think that the fact that there's one big plot that really centers the ruidusborn is another factor. Even if Orym, for example, were the type to shut down the party, what is one person who can't reasonably stop two spellcasters from going into the Hallowed Cage going to do? I think this post makes a good point; I think putting the pressure very heavily on two players who (very understandably! for a number of reasons!) are among the most averse to making a hard and potentially alienating or unpopular choice has sort of prevented anyone else from taking a wild swing. The other campaigns had a much more even distribution of who could make decisions within the party, and I think that reflects that. I also think this is uniquely an issue for longform campaigns; I haven't seen this hesitancy from Laura nor Ashley in Candela, Downfall, nor in the various Daggerheart one-shots and miniseries, since you have to swing big there.

I do want to cover one point specifically, which is that I actually find Ashton to be one of the better played characters. I disagree with them, to be sure, but like, Caduceus is a character who can be arrogant in his fairly limited worldview, but who is also consistently very empathetic and kind. Ashton has that arrogance, but without those priorities. Caduceus isn't really invested in hurting those who hurt him; he's interested in stopping those who would hurt his home, family, or friends, and if that requires hurting them he's okay with that. Ashton really does want to beat up those they deem responsible for their own pain, justified or not. I think taking the shard was a great move and stand by that [though, admittedly, it and the bit about Predathos needing a vessel just now have me like. the consequences have been conveyed in a crystal clear manner to ME and somehow the cast is not getting Matt flat-out saying in game THIS IS WHAT WILL HAPPEN, so idk what's up with THAT.] and my issues stem specifically from his decision to claim to speak for the weak and then immediately accept the titans saying that a remade world in which only the strong survive is fine. Like, I don't think there is a problem in how Caduceus is played vs. Ashton, in that I think they are both internally consistent as characters; I think it's just. Caduceus is someone who tries to make decisions that minimize broad harm to that which he deems good, and Ashton is often, by their own admission (episode 78), selfish and conceited. Like, Taliesin is just. Playing someone who is often not a great person this time. And that's a valid choice. But I think it's in a narrative that didn't really permit enough time and space for characters to change meaningfully so Ashton is a bit stuck there whereas, while Caduceus didn't have nearly as much of a gap between who he already was and the hero he needed to be, he had far, far more room to grow.

[ghostsandfools]

Okay guys. Okay. OKAY.

I just went back and watched a couple of the astral related episodes that have released in the past few months and I have a LOT to say.

I don’t think we realize how messed up the astrals truly are. Like, they seem to have noble goals and all, but oh my goodness.

Okay, lets walk through Lunar’s entire life story real quick:

The first episode of TSAMS came out on March 24, 2022. That was a little less than three years ago now. Let’s just keep that in mind.

When Lunar was created, his entire purpose was to serve Eclipse. I’ll be honest, I’m not too familiar with early TSAMS. I joined the fandom a bit late. But Lunar underwent constant emotional and sometimes physical abuse from Eclipse. He was constantly belittled, made to feel worthless, and in the end, Eclipse killed him in front of somebody he cared about. His entire purpose was to serve Eclipse, and suddenly that purpose had been taken away from him.

Lunar was remade in space, granting him the ability to use star power. Gemini then came down to Earth to evaluate if he was a threat and train him in the ways of star power. In the very first episode they appear in, Castor asks Earth to “please leave Lunar alone and stop talking to him.” Earth obviously refuses, but this interaction is still interesting. It’s strange that their first instinct was to try isolating him from his closest family.

Castor and Pollux began training Lunar and eventually becoming closer with him. Lunar was freaked out at first, and it seems like he didn’t really enjoy his training at first, but eventually it kind of took over his life. Star power was his entire purpose. And when he began to develop feelings for Gemini, it only became a bigger part of his life. His personality and goals for the future revolved completely around star power. It was his new purpose in life.

Lunar messes up a couple of times and begins to fear what will happen if he lets his power get out of control. First he attacks Bloodmoon, then kills Eclipse. Killing Eclipse was the especially interesting event here. Afterwards, Gemini makes it very clear to him how much he’s fucked up. They tell him his life could be on the line, that the other astrals want him DEAD, and they seem to be withholding their affection. They don’t spend as much time with him, saying they’re busy with his court case. Killing someone is a bad thing to do, so it makes sense for Gemini to distance themself, but I think we should remember this.

And then, it just stops. Taurus tells him that if he can’t move on from his trauma with Eclipse, he can’t continue to train.

This is detrimental to him. He doesn’t know what to do without a purpose. Eclipse abused him, but he also gave him something to do. He gave him someone to be. His entire identity was serving Eclipse. And now, he thought he had moved on from that. He had a new purpose now, to serve Gemini, to train as an astral and make everyone proud. And now he’s suddenly being told that he can’t anymore? That if he doesn’t get over his trauma (which is exceptionally difficult to do) he won’t be able to train anymore?

And so he makes a mistake. Another very big mistake. He pursues negative star power, he hurts Earth, he’s temporarily shunned by his family. It’s a big mess, he goes to jail, he’s put on trial.

And do you know what Libra does to punish him? She finds him guilty and takes away his star power.

So… This whole time. This entire time, they could’ve taken his powers away. And yet, they didn’t. Why is that? Why is it that they let someone like him, who has been shown to lose control, keep these powers?

Alright. Let’s take a look at the astrals. Let’s take a look at what they’re really doing here, because I think it’s interesting.

I’ve talked about this before, but the astrals operate like a cult.

Lunar is traumatized. He is emotionally broken and he has no idea what to do with his life. He’s just experienced death and lost his purpose in life, and now he has no idea what to do. And all of the sudden, the astrals appear.

Cults will often prey on people who are going through a rough time, as they’re much easier to manipulate and control. Not only that, but when they did appear on Earth, as I mentioned earlier, Castor asked Earth to “stop talking to Lunar” so they could evaluate if he was a threat. Cults will often isolate their victims away from their family and friends. Obviously they didn’t go through with this step, Lunar kept in contact with his family during his training, but it’s clear the astrals will use isolation as a way to control people. Remember when Nebula tried to befriend Earth and Taurus immediately scolded her for stepping out of line?

Next, they trained Lunar. They told him he’d have to leave behind this life on Earth, that he had a bigger purpose now. He wasn’t just an Earthling anymore, he was special. He could become somebody noteworthy if he trained hard enough. And they got closer to him, went on a vacation with him, spent time with him. Eventually they even pursued a romantic relationship with him.

But during this time, it was clear that they weren’t being completely honest with him. If he asked to many questions they’d say “you aren’t far enough into your training to know that yet.” They’d withhold information from him, yet another method often used by cults. They kept him enticed with the promise of something more. If he could get his emotions under control, if he was just a bit stronger, maybe Gemini would like him then. Maybe then they could be fully honest with him. Maybe then he’d be truly worthy.

They stayed committed to him. When he was in trouble, they went to court for him. They trained him diligently, stood up for him, they were always by his side. They cared for him.

And then, of course, disaster struck. They stopped training him. Lunar felt lost, he made a mistake, he had everything taken away from him. He lost his family, his friends, his partner. His entire life fell apart.

But think about why this all happened. They could’ve taken his power away. They could’ve come down to Earth, taken his powers away immediately, and been done with it all. None of this needed to happen.

I don’t think Lunar was justified when he killed Eclipse, and I don’t think it was okay for him to attack Earth either. Trauma isn’t an excuse to hurt people. But Lunar hasn’t had a break within the last two years.

First it was Eclipse, then the astrals, Bloodmoon, Nexus. He was abused every day for years, he died, he was brought back and began spiraling into depression, and then he was indoctrinated into a cult. Now he’s messing around with dark star power and getting himself into trouble.

And even now, he’s trying to be better. He’s been torturing himself, putting himself in that machine Moon made where he listens to his loved ones berate and verbally abuse him. Why? So he can impress Gemini. So he can have a purpose again.

TSAMS is the kind of show that’s meant to go on for a long time. The action has to happen FAST! But because of all the fast paced action, Lunar has been in multiple traumatic situations with no real breaks for two straight years now, and i think it’s messed up. He’s made a lot of mistakes, but he’s trying his best. I feel bad for him.