#of course there are also a lot of personal experiences that go into individual characters' arcs

[abyssalzones]

if this still falls enough under the purview of questions about the process i'd love to know if you have any particular inspirations wrt escape velocity you might want to share ! where you might've gotten the idea from or anything that might've influenced you and general things like that, or maybe something that helped you start to understand where you wanted to take the characters and story (up to this point) if that's still vague enough, and so on !

I've actually already talked about a number of influences for escape velocity in the past (namely the game starbound as the early Early foundational text that some of the main characters were created for), and I could easily rattle off a few more- the southern reach book series, everything everything's discography and the "get to heaven" album, the half life games, ETC- but maybe it's more interesting if I talk about what escape velocity has Not been inspired by. by that I mean in recent years I've noticed escape velocity solidifying as I realized I wasn't overly interested in doing a speculative bio heavy sci-fi work, as is in vogue right now, but something much more... anthropological.

this isn't even something new I've introduced to the writing, because it's already been there, whether that's reflected in my feelings about orientalism in works like dune or blade runner, the unspoken issues of race science in sci-fi, or the very complex stuff the comic gets into about intersectional issues through a sci-fi lens, such as nationalism and gender politics across cultures. It's more like... as I start to see the outline of what I really want to say, the less appropriate it feels to start neatly categorizing everything and dissecting the biological differences across each sapspecies. in general I would say escape velocity is a story about people and the concept of humanity, but without any humans in it, and as such the lines are a lot... blurrier. I am much more interested in utilizing sci-fi as an exercise in social theory, what we can say about our world through the means of another, than I am in practicing taxonomy.

with that in mind, I suppose you could say I've been very inspired by 1. reading sci-fi novels/watching sci-fi movies and thinking "hey this is kind of racist" and wondering what all there is to do or say about that aspect of the genre, and 2. reading social theorists such as Aimé Césaire (who taught similarly notable french afro-caribbean psychologist Frantz Fanon). I recommend "Notebook of a Return to a Native Land."

[itsclydebitches]

Watching The Apothecary Diaries and from a character perspective I love the detail of the pipe, the one used in the warehouse explosion. In just a few, literal seconds of storytelling we're shown quite clearly who Maomao is:

She notes that she "accidentally" took the pipe with her. Despite being a poor commoner surrounded by luxury, she resists most temptations towards theft. There's one moment - was it when she went to Ah-Duo's palace? - where she notes that anyone with so many nice things wouldn't notice something small going missing, but then she knocks herself out of that thinking. Maomao isn't some #pure protagonist who'd never even consider such a thing, rather she's an upstanding and smart individual who realizes this is both wrong and, notably, a dumb move if she gets caught. Maomao is careful to ask for the materials she needs to pull off the bomb experiment and there are times when, even basking in a love of herbs, she will not pick them if they're from someone else's garden. Maomao respects others' property and not even her hyperfixations will override that (a common flaw in other single-minded protagonists). This also dovetails nicely into her admission that she and Luomen built a lot of things they needed because she grew up poor. Who's to say how hard someone else worked to make/buy/secure that object?

Sidenote: It's interesting to me that the exception here seems to be Jinshi. Just an episode earlier Maomao tried to fleece him of who knows how much through the sale of Granny's "educational materials," which, you know, is very much theft. Beyond the fact that the general wealth of a noble differs greatly from the specific possession of a commoner (or even a woman concubine), it feels almost... intimate to me? That's not quite the word I'm looking for, but I mean that Maomao allows Jinshi to influence her in ways she doesn't let others, at least outside of her immediate family. Another notable example of that is her unwillingness to fake an interest in him. We see many times over the course of the show - facing off against the women in the outer court, acting as a courtesan for the night, etc. - that Maomao is perfectly capable of playing the smiling, docile, hapless woman society expects. Yet from day one she's refused to apply that mask for Jinshi's sake and, in turn, despises when he turns his charm mask on her. Maomao wants people to exist plainly, just as she normally does... and a part of that is accepting that she's sometimes an imperfect, immoral person. Weirdly, trying to steal from Jinshi feels like an act of trust towards him, both on a safety level (I trust that you won't punish me too harshly if I get caught) and an emotional one (I trust you to see an important part of my character: that I'll bend and even break the rules for my family's sake).

Moving on, Maomao is also incredibly practical and is living under the realities of a) poverty and b) a patriarchal society. She notes many times throughout the series (this episode included) that Luomen is terrible at turning a profit and Maomao herself owes Granny a fair bit. Combine that with the reminder that she was just fired from one position after being kidnapped from another and of course Maomao thinks about selling the pipe. She didn't intentionally steal it and - crucially - she has no reason to think it's still important to the investigation, but now that it's in her possession she might as well make use of it. Clean it up, find a new mouthpiece, and sell it off for a good price. Maomao is constantly thinking about the price of things, particularly in the context of whether she, a commoner, deserves them and that leads to her likewise noting the everyday objects that could make a big difference in her life, things that others don't even notice. For Jinshi that's just a useless stack of papers to burn; for Maomao they're a potential source of income, translating directly to her father keeping a roof over his head. Class is HUGE in The Apothecary Diaries, so of course Maomao takes one look at a beautifully carved pipe and considers how much she could sell it for.

...but she doesn't. Maomao looks closer still, uses those keen deduction skills to assume the pipe may have sentimental importance, and decides to give it back. Laomen isn't in immediate danger of being evicted, she may have just snagged him a new customer in Lihaku, and Granny isn't hounding her too much, so soft-hearted Maomao is going to put practicality aside and return it. Because she is soft-hearted. This is the girl utterly committed to the big gestures - risking exposure to warn two mothers about the poison killing their babies - as well as the small: staying up night after night to sew pockets into everyone's clothes just so they might be a little warmer for one festival. Now here, Maomao decides to still clean up the pipe. It's not enough to just return it, she's going to return it in pristine condition, even though that won't net her anything other than a potential 'Thank you' now. For me, Maomao so often embodies the message that when peoples' basic needs are met, they're then free to be quite kind to one another.

Love this girl. So, so much.

[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

[tinseltrinkets]

I don’t know why people think that in order to appreciate Viktor and Mel, both individually and in their relation to Jayce, one has to be discounted or dehumanized.

It does a disservice to all three characters, putting Mel and Viktor’s worth entirely on Jayce and turning Jayce into nothing more than a trophy of honor.

All three of them had, in different ways, beautiful relationships with each other.

Do I believe in JayVik endgame? Yeah.

But do I also think that Mel and Jayce had a beautiful connection, not just as romantic partners but as genuine friends, and that this doesn’t have to be ignored for Jayce and Viktor’s to be realized? Of course.

Fandom does thrive off discourse, but it also thrives on appreciation. We can advocate for the appreciation of one character without bringing down another.

A lot of those who discredit JayVik do so in the acknowledgment of the misogynoir towards Mel. This is definitely a factor, especially when she’s made out to be only an obstacle or experience for Jayce to realize Viktor is his soulmate.

But this doesn’t need to be accompanied with ableism towards Viktor and homophobia towards the ship itself.

Some people might ship JayVik because yaoi, but that doesn’t mean there’s no merit to it or that that’s everyone’s reason.

JayVik is not, by any means, forced.

Their motivations from the start to discover something revolutionary is from a displaced need for love and appreciation.

Jayce wants to feel worthy of appreciation and feel that he’s contributed something to the world. He explicitly states when talking about being unable to help Viktor that he hates to feel useless, and I don’t think that’s a disingenuous statement.

Viktor wants to feel that his appreciation is something that matters, that he matters and that by going above and beyond in contributing to society, he’s disproving all the misconceptions of his value that he’s internalized.

The reveal that Viktor was that mage that propelled this dream in both of them aligns both with the plotline and the themes. Two people realizing that their love (however you interpret it) for each other was the real dream, the memories of discovery being re-contextualized to emphasize the discovery of each other rather than of a scientific breakthrough, is truly remarkable.

Along with this, Mel and Jayce’s journey, especially pertaining to Mel’s character, showing that through seeing that the gifts she was taught to value for their ability to manipulate and attain power can be used to heal and connect with others and connect with herself past her expectations as Medarda and discover herself as a person who is warm, kind, and powerful in a way she couldn’t imagined without it accompanying violence, intimidation, and a complete lack of warmth or intimacy, is also remarkable.

While this is wonderful by itself, I’m glad that Mel is going to be the center of a new story, where she doesn’t just have to discover herself, but also hopefully connection with others. A lot of the time, the “strong black woman who doesn’t need anyone else” is sort of an excuse to not flesh out her relationship to other characters. People other than Jayce. Even Jayce and Viktor had other positive connections in their lives. So far we haven’t Mel truly be able to connect with anyone outside of Jayce, which thus far had made sense for her character as she had to keep a lot of her relationships pragmatic. But now she has the opportunity to be herself and use her gifts the way she wants to.

I think instead of hoping that her and Jayce’s relationship will be rejuvenated to fulfill this (because unfortunately, yes, he has been the only character she’s been able to connect with positively), we should be excited for the potential of her having her own story.

[trainsinanime]

Trains in Miraculous Ladybug - The Season 6 Tram

Part 1: The Metro Train

Part 2: The Metro Station

Part 3: Startrain

Part 4: The Gare du Nord

Part 5: The Bus

It's a new season, and we got a new art style, new trains, buses, cars, villains and anxieties in the world of Miraculous Ladybug! Mostly trains, of course!

At the end of season 6, the right person got elected mayor, which immediately transformed Paris into a wonderland of walkable urbanity and plentiful urban transit, even more so than before. That's literally canon. As part of that, the city has gotten trams. A lot of them. And they're weird. Time to restart this series of posts that I thought I'd finished long ago!

This will only focus on the trams we see, because there's just one episode out yet, "The Illustrhator". This will contain spoilers for what happens to the trams there. There is also a new bus that we see very briefly, but I'm hoping other episodes will tell us more about that.

The Vehicle

The trams we see are single four-axle vehicles. Yes, four axles, we do get to count them.

The design looks like they're individual small wheels rather than connected axles, which is a common design that has its advantages and its drawbacks. The floor tram is entirely at one level, seemingly about 30-40 cm above rail height.

We do get to see its interior as well. Nice big windows, different seating layouts, a big wheelchair area, and readers for Navigo RFID tickets at all doors. And, interestingly, fold-down seats, which are a feature on older Paris metro rolling stock.

We get a tiny hint of the inside of the cab as well. According to the display, we're going forward, and we're on line T3A towards Porte De Vincennes. And we're going 70 km/h.

There is actually a real-life Paris line T3A that does terminate at Porte De Vincennes (where you can change for the T3B), and I want to talk more about that, but before we can go there I need to talk about the rear of the train first. It has an open platform!

The rear platform

Don't worry about it being raised in the air here, that's just because the tram is currently falling down because the bridge is collapsing.

But don't worry, that is not a supervillain thing, the bridge just did that on its own, that's perfectly fine…

…right? The characters treat it like it's perfectly fine that this bridge just partially collapses without any supernatural interference, but, uhm, I have concerns. Questions even. Frankly I'm far more worried about that than about any supervillains. Alya and Nino later interview the mayor, and they completely ignore that a city bridge collapsed while a tram was going over it.

Sorry, I keep getting distracted. The rear of the tram has an open platform, which looks silly, is silly, is completely unrealistic, and I love it! See, while I am not aware of any trams like that, unless you count partially open ones like the San Francisco Cable Cars, but those are not quite the same.

However, there is a precedent for this platform, because Paris has a long history of city buses with such platforms. A good example is the Renault TN series

Picture from Wikimedia Commons, taken in 1950 by Sven Goliath, published by the Stockholm Transport Museum Commons

These were mostly a thing in the 1930s, but then got brought back in limited numbers in the 1960s after a Saviem SC10 had an accident that destroyed most of its rear, and RATP decided to be funny while rebuilding it. Later Saviem built these busses in series.

Picture from Wikimedia Commons, Tumblr won't let me link to the actual page there but it's on the Wikipedia article, taken by Sauvabus (bus historical association), published under CC-BY 4.0 international

All buses since then have put their engine at the rear, which has a lot of benefits, but also means it's right where this platform would go, so this has fallen out of fashion. Today you can only experience it when the one private transport museum near Paris has its monthly opening day, which is something I really need to visit one of these days. Here's a video showing the experience:

So there is precedent for this rear platform. Does it serve any purpose? Not really. Is it fun? Absolutely! And that's all it was on the Saviem SC10 as well, really. I love this platform. It's historic, it's quirky, it's fun, it's great.

The show definitely aims for a retro-futurist vibe now, seen e.g. in cars, like this modern take on the Citroën DS:

This modern take on this 60s and 70s legendary classic is what the modern DS brand should do, instead of their array of generic boring SUVs. Anyway, I'm not going to go too far into that, if I start talking about the cars in Miraculous Ladybug I'll never stop (yo is that a modern Peugeot 504? They literally modernised Aphrodite from Only Murders in the Building!). But I will say that this detail matches nicely.

The Infrastructure

Look at that station! Gorgeous! The designers of this show have created a tram stop in the style of the famous Guimard metro entrances, with their beautiful Art Nouveau design. That's amazing. I wish real tram stops in Paris look like that.

As for the tram stop itself, it's a low floor island platform with walkways to the sides, which matches modern standards for new tram stops worldwide. The track has gras planted on it, which is also common and popular, as it helps absorb noise, water, heat and pollution and it just looks nice. Yes, side platforms are more common, but this is still what a modern urban light rail network can and should look like. The only thing unrealistic about it is how pretty it is.

It should be noted that there's no overhead lines here, so the trains are powered by batteries, probably. That, or hydrogen, but a hydrogen tram would be a supremely bad idea, nobody would ever build something like that…

…except for Hyundai for some reason.

God that thing annoys me by its very existence. Hydrogen is expensive and will remain expensive for the next few decades, and this is what you're spending it on? A tram!? Trams should run with overhead wires. That's the good thing about a tram, you know where it's going to be, so you can put a wire there to give it power, and then you don't have to worry about batteries or hydrogen storage or whatever…

Sorry, I got distracted. Anyway, no overhead lines is realistic, and if they ever say, "it's a hydrogen tram" in future episodes, that'll be realistic too, even if it shouldn't be.

Instead let's look at this!

Closer…

Yeah! They finally fixed the metro map! The old one was an unholy mess of lines that didn't match anything (which I complained about before), but this one clearly has the Seine flowing through Paris as it should, with the island in the middle. The transport lines on it don't seem to match anything I can recognise, neither Metro nor RER, but let's just assume they are the new tram lines that happen to go this way.

Compared to the real thing

Real-life Paris abandoned trams in the 1930s already, being a negative trend-setter there. It didn't help that trams were limited to lower top speeds than buses were at the time. However, since the 1990s, trams have made a huge comeback in the Paris region.

(Aside: Note that I say the Paris region. There's only really one tram line in Paris itself (plus a few stops from the other ones). Where Berlin or London absorbed most of their suburbs at some point in the 20th century, Paris didn't, so the actual Paris part of the Paris region is surprisingly small. That's why Paris has both far fewer and way more inhabitants than e.g. Berlin, depending on what you count.)

Anyway, the tram lines in Paris mostly serve the suburbs, providing tangential connections from one suburb to the next so you don't have to take the metro or RER into the city centre, change at fucking Châtelet-Les Halles, and ride back out again. A unique feature of the the tram network is that each line is separate, with its own tracks and maintenance facilities, and at times very different technologies used. Most of the tram lines don't connect to other tram lines at all, each line is just out there doing its own thing. And since they're out in the suburbs, as a tourist you're unlikely to ever see one if you don't go looking for it.

The exception to that is the T3, divided into T3A and T3B, which runs in a 3/4 circle around Paris along the outer boulevards. The final quarter is where rich NIMBYs live, so it'll be a while until the circle gets closed, I fear.

This actual T3 is run with long bi-directional vehicles with no open platform anywhere in sight, and pleasant but considerably more boring stations. It does have green track (meaning with grass) in many places, though, and it has overhead wires.

In Paris, the trams are used as very long buses (with some overlap with really tiny metros) in underserved areas. Serving areas outside the city core is really the main thrust of Paris transit development at the moment, with a 200 km metro extension, the Grand Paris Express, being built exclusively to better connect the suburbs. This mega project is one of the coolest things happening in public transport anywhere in the world at the moment. The trams augment this.

I do actually think that some trams in Paris's city centre could make sense, to replace the busier bus routes. And there are definitely thoughts about that, but with all the money going towards doubling the size of the Metro, I don't think we'll see that very soon.

The verdict

I like that tram. I don't think it's what Paris would actually have, a longer articulated bidirectional model without a rear platform would make more sense, but I love the quirkiness of it. This season is off to a good start.

[theemissuniverse]

i love ur fics sm, thank you for keeping this (somewhat inactive) fandom fed 😭🩷

could i request a fic with johnny cage (my literal husband) where the reader is generally a shy/reserved person who prefers to stay home, but goes to all of johnny’s events to support him. at one of his events, reader sees a woman getting too comfortable with johnny and she gets jealous and the reader becomes clingy/passive aggressive around the other woman, but when confronted/asked, she won’t admit that she’s jealous. i know u mainly write for 18+ so if you want it to lead to smut, that’s fine!

(sorry if its too long/specific feel free to ignore!)

“THE CATWALK” JOHNNY CAGE X FEM!READER

A/N : thank you! Hope you like this. Also for little bit on context, for the ending of armageddon, it was you that stopped Titan Shang Tsung.

WARNINGS : MINORS DONT INTERACT. Nothing major but mentions of Johnny being “hard” and talk about sex

MASTERLIST

After the events of armageddon, you had actually became best friends with none other than Johnny Cage. It was interesting to say the least since the two of you were polar opposites but hey, your friendship was good.

Johnny became a big hit director and his movie “Mortal Kombat” was out at the premiere. So, of course he invited you to be his plus one.

Now, you weren’t very much of the party go-er. If anything you’d prefer to stay at home and lay in your bed for eternity but your best friend Johnny wouldn’t let you become a couch potato.

Not only that but you felt like you had an obligation to him as his best friend to go with him to his biggest night yet. And so, you did.

In the movie, there was a character named “Athena” that was written based on you. Johnny said you were gonna love her but you were a little nervous.

You were getting ready at Johnny’s mansion just because it was easier since he had a limo to take you to the big night.

You were in his guest bedroom, getting all dolled up. Your dress was a long dark green dress that reached to your feet. You were finishing up the last touches.

The door was already opened but Johnny walked up and gave it a knock anyway. “You almost ready? The limo is-“ He stopped his sentence when he had seen you. You were absolutely stunning to him. “Wow.”

You looked back at him. Then you started to get worried with your appearance and you looked back at the mirror. “Oh no. Does this not look good?”

“No, no. You look hot.”

When you saw Johnny pulling out his phone, you immediately shook your head and tried to hide your face with your hands. “Stop.”

Johnny ignored you and recorded you anyway. “Come on. The world’s gotta know I got the hottest best friend in the world.” Johnny came up behind you and placed his hand on your lower back. You instinctively dropped your hands.

You sighed some before shoving him away. “Alright. You got your shot. Now, go away. Forever.”

“You know you like me.” Johnny gave you a playful kiss on the cheek before he stopped recording. He started to walk out the room. “Hurry up. You get ready like a girl.”

“Maybe because I am a girl. Crazy thought I know.”

Johnny knew you’d be nervous walking the red carpet with him so he made sure to keep you close at all times. He also always had his hand placed on your lower back.

Your nerves had died down just a little. Johnny made the experience all the more joyful with his humor. He made you laugh.

The truth was, you liked Johnny. A lot but you’d believe he’d never go with a girl like you. I mean he’s literally a hot shot movie director now.

It was time to watch the movie. You were excited to see it and how Johnny saw you. Again, the nerves came back.

Through out the movie, your double, Athena, was described to be a shy and reserved individual but a really good martial artist.

In real life, you were the mentor for Raiden, Kenshi, Kung Lao, and Johnny and helped them train for months.

You had laughed because you caught on that the character that was suppose to be playing “Johnny” was getting his ass kicked by your character. (As it had happened in real life.)

Johnny had made sure to watch your reactions to the movie and he smiled every time you laughed. It made him feel good that you liked it.

What you didn’t expect was at the end of the movie. Your character, Athena had defeated the powerful sorcerer and stopped evil through out all realms. Your character was viewed as the hero.

You were shocked. Johnny viewed you out to be a hero?

When it was done, Johnny was mingling with the crowd just trying to ask questions about the movie and what not.

That’s when you saw him talking to a woman. At first, you didn’t think anything of the conversation but then she gripped Johnny’s arm and began to laughed.

Something inside of you did a double take. What made you even more mad? Johnny was laughing with her and accepting her touch.

You shouldn’t be upset. You and Johnny weren’t dating. Not even in the slightest.

Oh but it did. It did very much.

So much so you did something that was not in your shy nature.

You walked over to Johnny and the woman. Your arm snuck around Johnny’s right arm. He looked to see it was you and smiled. “Hey (Y/N)-“

He was cut off by you grabbing the back of his neck and bringing him down to your lips. Johnny stood there, a little shocked but made sure to snap himself out of it. He kissed you back.

The woman scoffed as you made out with each other right in front of her. The kiss was starting to turn so sloppy that you two were tongue kissing.

When you thought you made your point- you pulled away and turned to look back at her. “You’re still here?” You questioned her, annoyed.

The woman waved you two off and walked away. Johnny was blinking his eyes. Completely confused. “Not that I didn’t enjoy every minute of that but what in the actual fuck just happened?”

It was like you yourself had snapped out of it. You shook your head and tried to walk away. “I don’t know but peace out-“

When you tried to walk away, Johnny grabbed your arm so you were forced to stand there. “Oh no. You’re not getting away that easy.”

You sighed a little, snatching your arm back. “I’m saving the world by one skank at a time. You should be thanking me. She probably had diseases.”

Johnny couldn’t help but laugh. “I’ve had my ‘skank’ shots. I think I’d be alright.”

“Oh so you wanted to go out with her?”

“What in the world are you going on about?” Johnny then now understood. He snickered a little, shaking his head at himself for not realizing sooner.

You gave him a look. “What? What’s so funny? I’d like to know.”

He jabbed you in the shoulder playfully. “You like me.”

You tried to act like the idea of you ever possibly liking Johnny Cage was the most disgusting idea ever to know. “What? Me? Like you? No way. We’re friends.”

“Uh huh…” Johnny trailed off, smiling and not convinced.

You placed your hands on your hips at his tone. “I’m serious. I can’t even see myself being with you in like any scenario.”

“Right…so just to be clear-you tongue kiss all your friends like that?”

You couldn’t even defend yourself it felt like because in reality he was right. “Never in a million years. Like you’re so annoying.”

“Yeah?”

“And a player and conceited and the worst person on the planet and-“

Johnny didn’t let you finish your rant. He cupped the back of your neck and pulled you up to kiss him.

As much as your brain told you not you, your heart was doing cartwheels. You had to. You kissed him back and wrapped your arms around his neck.

Johnny’s left hand went to your hip. He pulled you in closer so he closed the distance between you two. He licked your bottom lip and nibbled on it slightly, making you let out a moan.

He chuckled against the kiss and he pulled away. “So you don’t like me?”

“No.” You said and then walked away from him, causing him to shake his head.

Back at home, you were back at Johnny’s guest room. The plan was always for you to spend the night after the premiere but now it felt awkward.

You were in your PJs. You were making the bed but frustratingly so. You could not get the sheets to lay on equal sides.

A knock was at your door. The door was already opened and you looked to see Johnny there in his own PJs. They were cartoon PJs with pajama pants and a t-shirt. You should’ve expected he’d wear something like that.

“You’re a kick ass martial artist but don’t know how to make a bed?”

You rolled your eyes playfully. “We did not have these kinds of beds growing up thank you very much.”

Johnny snickered. “Let me help you.” He walked into the room and grabbed the sheet from you. He then started to lay it on the bed.

You felt anxiety creep in. You twiddled with your fingers. You couldn’t look at him. “I’m sorry I interrupted you with that girl.”

“You mean your sorry that you cockblocked me?” When Johnny saw your expression, he chuckled. “Don’t worry about it. Kissing you was worth more than that anyways.” He said and started to put the second sheet on.

All the flirting Johnny ever did was now getting to you and you officially couldn’t take it anymore. “Why do you do that? Why do you always flirt with me?”

Johnny finished placing the sheet on the bed. He looked up to you and sighed. “(Y/N)-“

“And then the movie. Why did you write me like that? Why did you write me that I was the hero? Why do you do things like that?”

Johnny took a step towards you and grabbed your hand. “Because that’s how I see you. (Y/N), you’re the most badass girl I know.”

You took your hand away from him. “I’m not.” You turned so your back was facing him. “I have anxiety, I don’t like to talk to people, I get nervous even by the slightest bit of social interaction. What about any of that is ‘badass’?”

Johnny rubbed on your back and shoulders to try and relieve the tension that was built up in you. “Nothing you said has anything to do with being badass. You’re amazing and you do deserve it.”

“Why are you always so nice to me?”

“You know why.” Johnny forced you to face him. He cupped your face and wiped away all of your frustrated tears. “You know I like you, doll.”

You sniffled a little. Then brought your own hand to your face to wipe away the tears. Finally, you admit it. “I like you too.” You pushed him away slightly. “But I don’t think I can do this with you. We’re both on…different levels. You like to go fast all the time and I’m always slow in the background.”

Johnny grabbed both your hands. He set you and himself down on the bed. “Then I’ll be in the background with you. I’ll go slow. Slow as a turtle.” You chuckled a little at his analogy. He lifted your chin up so you were facing him. “Nothings gotta change.”

“Really?”

“Yeah. We’ll still be best friends. I’ll still mess with you and you’ll still eat all my food. The only difference is a title. Oh and also really great sex.” You swatted his arm a little at the last thing and he laughed. “Come on, (Y/N). One shot- that’s all I’m asking.”

You thought about it for a moment. You did really like Johnny. He was more than a best friend to you. He always made you feel good about yourself. And that’s something you cherished about him.

“Alright. One shot.”

“You won’t regret it, babe…probably.” You shook your head at him. The two of you stared in each other’s eyes. Then flickered to your guy’s lips. “Is it okay if I kiss you? Remember I’m moving as slow as a turtle for you.”

You laughed slightly. Instead of answering him, you kissed him. Johnny kissed back, placing his hand at the back of your neck.

The kiss was passionate. Like you two were starving for each other. Of course, Johnny was the best kisser you’d ever had but you would never admit that to him. It would only inflate his ego more.

The kiss started to get heated. Your hand felt up on his chest and your lips went to his neck to kiss on it.

Johnny moaned at the kisses on his neck before snapping himself out of it. He pulled away and stood up from the bed. “Nope.” You looked at him offended. “Promised you slow and that’s what you’re gonna get.”

Wow, he was actually taking this slow thing seriously. “Well, can I sleep in the same bed as you or is that going too fast for you, Cage?”

“Nah. That’s perfect speed.” Johnny helped you stand up from the bed. “Just don’t do no funny business because I’m already hard-“

You didn’t believe him but you looked down and he was in fact, hard. You gasped out in surprise and slapped his chest. “Johnny!”

“What? You’re the one making out with me and giving me neck kisses.”

You shook your head slightly and went with him to his bedroom. Guess you and Johnny were gonna try this out.

“Did I ever tell you how amazing your ass looked in those shorts?”

“Shut up, Johnny.”

[zenkindoflove]

You guys do not want to go down the road of starting to make blanket declarations that specific ships are "problematic" and "triggering". And let me explain why.

ACOTAR fandom, in my experience, is notoriously very far removed from general fandom. It's big and dispersed across many platforms that weren't created around fandoms, and so a lot of people enter it having little to no experience in other fandoms.

This discourse about what is or isn't a problematic ship and what kind of person ships a couple like that is not new. Fandoms of yesterday yore have had long fights about this and a general consensus has emerged which is anytime you start playing the morality policing game around people having fun with fictional characters, everyone loses.

Let's take this situation with Elain Archeron Week which is explicitly banning submissions for Elain with characters who are canonically known to be abusive to a romantic partner. Generally, the spirit of character weeks are to be ship neutral and importantly a concept that has emerged from prior fandom morality policing debate is the term Ship and Let Ship. Which means just because something isn't YOUR ship doesn't mean you need to come up for reasons why it isn't CORRECT to ship.

So, you think it's morally incorrect and triggering for people to see Elain paired with an abuser or a "bad guy"? That is okay for your own personal beliefs but if you start making rules around it for something that is supposed to be inclusive where do you draw the line or what that means? How about pairing Elain with the guy who runs Night Court Abu Ghraib? A role that means he actually tortures people physically and mentally to the brink that they are forced to "confess" to crimes. Is that some how morally superior to another character who emotionally abused their partner and confined them to a house?

See. That didn't feel good. Now did it? Do you actually want to get into a discussion about which wrong is morally worse than the other? Especially when it concerns a character week that is supposed to be about positivity and people having fun because they love Elain and they love the different interactions she could potentially have with characters in fanon?

And that is the entire point. When it comes to fiction, we all will be seduced by characters who have done bad things. Things that will trigger people. But, and I mean this whole heartedly, no one else is responsible for your triggers but you. You are the only one who knows what you can and cannot handle. Your Mileage May Vary. Tumblr's tag filtering system is in part for this very reason because of how fandoms use tumblr.

When you have a fandom wide event space, generally it's a bad idea to start throwing up these judgmental rules around people's character interests and shipping habits. Of course, any event runner is entitled to do what they please. But you also have to expect those who are excluded or know people who will be excluded are going to have something to say about it.

I really think the entire ACOTAR fandom could benefit from getting curious for once and actually digging into the histories of fandom, fandom lore and vocabulary, and start learning from from fandom elders. If so, we'd all be able to navigate these situations with a shared language that recognizes that the primary goal of fandom is to have fun first. And everyone's fun is going to look different and each individual is responsible for deciding what their squicks and triggers are. And the whole point of a squick is to let someone know this thing bothers me personally but I understand if it doesn't bother you. That sort of back and forth empathy across each side is how fandoms don't burn down in flames and people don't feel shame about what they like in fiction.

Now any fandom event can make whatever rules they want. But what I already see is a bunch of people (e/riels) are now actually making posts about why others who ship Elain with Tamlin are morally inferior, disgusting, perverse, and bad people. But hear me out, someone can easily think and say the same thing about you and your ship and if that is the kind of environment you'd like to fuck around in, well, aren't we all the worse off for it.

[misc-obeyme]

Wait a minute, Barbatos listens to heavy metal? In which of the games is the sacred chat that included this juicy little fact mentioned? Is it a daily chat or is it obtainable from a card?

Affinity with heavy metal suits him very well, honestly.

I absolutely love when a character's personality is founded on a particular 'theme,' a specific range of generally interconnected interests, as well as a determined set of qualities—only for an unrelated/unexpected trait, quirk, hobby, talent or interest to sneak up and add a quaint pop of entertainment and relatability to their person.

Barbatos adores tea, likes cleaning, and tends to tiny demons, which are all things that give a sort of serene, domestic tinge to his figure. Yet, he indulges in the genre of heavy metal. And I think that that's such a satisfying, realistic shade to his personality palette because the truth is that one individual can hold so many differences within them, and some of those differences may at times be starkly opposing. And that is so intriguing.

Except in this case, I don't think Barbatos's appreciation for heavy metal is 'unrelated' to him per se or even a difference at all; in fact, it's woven with his being and who he is. Because of course, despite the calmness, fondness for tea, and intricate skills in making all sorts of sweet and savoury delicacies—aspects that craft an almost soft, meditative aura around him—he's also a thinker with a sense of wisdom and a badass who displays a multitude of talents while appreciating a musical genre famous for its loud intensity (which at first glance 'opposes' his general calm image and eloquent manner of speech).

So this is where I point out that this very 'difference' is perfect, since it's also a core similarity in and of itself; after all, Barbatos is intense and thoughtful, just like heavy metal itself (even though the genre has this unfair, unfortunate stereotype of being 'aggressive noise only'). What I mean to say is, this preference Barbatos has is merely an extension of his self and a representation of the parts of it that are not immediately apparent. It may seem startling at the beginning, but in my opinion, it makes so much sense that he would appreciate heavy metal.

He has lived for a very, very long time and that existence came with thousands upon thousands of experiences that shaped his mindset, temperament and wisdom, as well as gave him depth. I assume he found that heavy metal resonates with him in some ways. Perhaps it is not only admiration for the deep lyrics or relation to them, but also how the intense volume might help him vicariously express certain emotions.

In all honesty, it would be nice to see what young Barbatos was like. Now it's just rats that make him lose his marbles and go from 0 to 100 in the course of a millisecond. His anger is often pretty much covert otherwise. How interesting it would be to catch a glimpse of his wild days of youth—Barbatos being outwardly wrathful, spitting out what's on his mind without restraint, immediately resorting to violence, and even getting jealous because he's still young and hasn't yet attained the wisdom and maturity all that experience has to offer.

This is way longer than I intended it to be, but the subject piqued my interest, I love rock and admire the depth of thought in it and heavy metal, and overanalysing and overthinking are best friends of mine lol

The chat is from OG and I'm like... 99.999% sure that it's with the group The Fantastic Three. I remember Lucifer apologizing for Asmo who decided to perform some heavy metal at an event or something. And Barbatos was like, actually I like heavy metal. And Lucifer and Diavolo were both like ???

But for the life of me, I cannot find it. I thought it was a daily chat, but I can't find it. Maybe it's from a card? Does anyone know exactly which chat that is??

Anyway, I agree with everything you're saying. I very much headcanon that Barbatos has a lot of depth that we simply don't see. This because he hides it deliberately. I think he does this because he feels he has to have a certain demeanor, not just as Diavolo's butler and as a role model to him, but also because he feels he was too wild in his past. He wants to project that image of perfect calm and competence.

Despite all that, Barbatos is still a being with emotions and I really like the idea that heavy metal in particular speaks to him. Listening to it allows him to sit with some feelings that he normally represses. It helps him work through them instead of letting them fester.

I also think an indication of a well written character is when that character has unexpected traits. It's impossible to make a character as nuanced as a real person, but you can create the illusion of it by giving them depth. Barbatos feels like he has so much happening beneath the surface, so many pieces to him that we haven't discovered yet. It's one of the reasons I love him so much.

Who is he when he lets himself go? I have spent too much time thinking about that.

And how interesting it would be to see how he was when he was younger...

[anime-grimmy]

Soooo, you've probably noticed Ive been replaying HZD recently so my mind's been stuck on the franchise for a while.

I finally took the time to actually try and experience Burning Shores for the first time, this time with an unbiased opinion.

Bcs, ngl, when it came out, I was very negative towards it for a couple of reasons. It already started out with me not being able to freaking play this DLC, even though I was so excited for it, cos while HFW was on PS4, the DLC wasnt. And Im wasnt going to buy a whole ass PS5 just for a DLC.

(I will get it once I buy a PS5 for MH Wilds though).

And then, ofc, the elephant in the room - Seyka, or rather Aloy's relationship with her.

I'll preface this with, though it should be obvious with my content, I do NOT have a problem with Aloy being in a gay relationship.

What rly irked me, and honestly still irks me, is that Aloy finally gets to experience new feelings IN A FUCKING DLC. AN EXTENSION A LOT OF THE PLAYERBASE WONT PLAY.

The second reason I didnt enjoy this decision was bcs it felt so rushed. I mean, we're talking about Aloy here! Miss "I dont have time for feelings bcs I gotta save the world"! Miss "I barely just learnt to let others in"!

From what Ive heard, the DLC is over the course of a few weeks/months, so it's not like they fell in love just like that, but Ive also heard that while playing you do not get a feel for that passage of time. I'll have to experience that for myself though.

Now that Ive had some distance from the franchise though, my feelings have changed a bit

Im not going to lie and say I now loooove this decision. No, I am still miffed such enourmous character developement for Aloy is stuck IN A DLC. Not to mention that it was such a bold move to try this with a new character, cos this relationship being perceived well hinges on the player liking Seykay and that fast. Imo she's a fine character but also nothing special.

Now, I do have to say, I am really happy that Aloy has finally come so far that she allows such intimate feelings to develop, or rather, that the devs let her be this way. I know a lot of us still perceive Aloy as this single minded protag, that wont let anyone in bcs "the mission is too important", so Im glad Guerilla shows us that Aloy has undergone quite the growth.

Im also pleasantly surprised that Guerilla has the guts to include romance for Aloy, bcs they were one leg in the "strong women need no (wo)men" pit, so it's great to see they dont let Aloy fall into that trope.

Now, for the FUN part.

I actually have a conspiracy theory, ie I am gaslighting myself on why such a big thing is stuck in a DLC.

I think Guerilla is testing the waters to see how players react. I am pretty sure they can gather the data on what dialogue options players used, so Im thinking this:

Guerilla is trying to gauge the player reaction on a) Aloy developing feelings, b) players thinking Aloy is ready/willing for a relationship, c) same sex relationships. They tried killing quite a few birds with one stone.

I have seen quite a few teasing, winky face posts and replies from Guerilla staff about romance options in the third installment, so my guess (delusion) is that the relationship is hidden in the DLC so Guerilla can plan on how much and obvious to include several romance options in the last title.

I know this is all just wishful thinking, but even if Seyka is a good character, I hope to fucking god that they dont just take that relationship decision away from us, esp with a character bound to a DLC.

Guerilla gave us such a wonderful cast of characters over the last two games, and if they want to give Aloy an "end game" in the third title, I hope they do let us choose with who. Or at least I hope they dont force a relationship we cant choose onto us.

Cos as much as Aloy is her own person, it is still US that make the decisions in game. Through our individual playstyles , we give Aloy our own interpretation. Now, we cant change her core values, but still, I hope to GAIA that Guerilla will give us enough wiggle room.

(Guerilla, Im begging you, Ive already waited 8 years, please dont let my ship sink)

[conflictofthemind]

I love the post that took the rounds again a week or two back discussing how much more "being gay" and internalized homophobia is a theme for Will than it is for Mike. It's things like this that make me such a neutral party on the "gay vs bi" debate.

I'll try to word it in a way that makes sense. My real opinion is that Mike's arc with sexuality is a lot more symbolic than it is material. That post does go into a lot of it. For Will, his sexuality is directly brought up by both friends and strangers, and he must ask questions like "will my family disown me for liking another boy" and other things that are basically only about being gay.

For Mike, his arc is wrapped in metaphor - understandably, since he is less visible and his feelings are meant to be a plot twist. But I think even as it's revealed, it will be written differently than Will.

Its like, "how do we explain sexuality in a way that is understandable to every viewer" (Mike) versus "how do we represent a specific experience to the queer community" (Will).

Saying this as a Will fan who also wishes people would understand Will better, I wish people (especially Mike fans who should know better) would understand the scope of Mike's character and how it informs what he does!!

He basically spent the entire last season whisper-screaming for help, but this has still flown everyone heads who still believes his biggest struggles are liking men and not liking El primarily because she is a girl, no deeper reasons here.

Mike's acceptance and/or realization of his sexuality is so wrapped up in other things that are crucial to his character. To the point you can't address one without having the whole house of his personal issues fall apart. It's an arc about personal acceptance - not specifically for liking boys, but for daring to step out of the suburban nuclear family dream, for not rushing to abandon his desires that seem 'childish' to others, knowing that his worth goes past what he can provide. Not feeling inadequate.

His relationship with El not just failing because he is (possibly / probably) unable to reciprocate her attraction but because they are deep down incompatible individuals, beyond sexuality. They don't have much in common. El's power brings out Mike's lack of. Mike is only able to connect with her in situations of danger, when his previously stated mental health crises are triggered, not everyday life.

Disclaimer of course that this is not a hard black and white line, and Will's struggles with his sexuality are also tied into his character flaws. But not in the same magnitude. I also think Mike will face the material reality of his feelings and being gay in the time period, but again, not to the same magnitude as Will's arc emphasizes.

[reblogthiscrapkay]

So I just finished rewatching Succession (immediately after watching it for the first time) and it really is a show that demands multiple viewings. What struck me most this time around was that in your first viewing of the show, you're kind of set up to view Kendall as the default main character and the most likely "winner" but when you divorce yourself from that idea, you notice a lot more.

Because Roman snuck up on me as my favorite character during my first viewing, I wasn't really following his story as closely so the second time, I found myself following it a lot more and, bias aside, if any of the kids were to "win" in the end, it should have been him (although I absolutely wouldn't change the ending; I think it was perfect).

This is most clear to me in the final episode. Everyone talks about the scene where Kendall hugs Roman so aggressively that his stitches reopen and it's a great scene but what happens before it is really powerful too. When Kendall first sits in Logan's chair you see this very subtle discomfort on Shiv and Roman's faces like, "Oh no. What have we done?" but it's not enough for you to necessarily think they are going to betray him.

Then after Shiv leaves, Roman sees Gerri in the hallway and kind of breaks down. He says he doesn't want to go into the meeting and this eventually turns into, "It could have been me." It's a reminder that throughout all of season three and half of season two, Roman was actually the one doing the best work at the company. Why? Because he had an actual ally in Gerri. Kendall had his experience and sheer determination and Shiv had a false promise from Logan but Roman had actual, tangible support from someone with power. He and Gerri spend a bunch of time raising each other up and it actually works. She believed he could win. He believed she could get him there and if it wasn't going to be him, he wanted it to be her. But his messy feelings for Gerri is also the reason everything fell apart for him. Being reminded of what he could have accomplished got into his head.

Even his assertion at the end that everything is bullshit and they're all bullshit (echoed from the first episode) also kind of shows why he would do well at the job. Kendall believes he's entitled to it and is constantly shooting himself in the foot. Shiv lacks the experience and is incapable of loyalty. But Roman always knows deep down that it's all a silly game. He wants to win, sure, but he's able to bend to whatever needs to happen without letting it personally affect him. His emotions that he denies having are about individual people, not business. The fact that he has a genuine capacity for love means Logan views him as weak but it's that separation of emotions that makes him stronger than Kendall or Shiv who are constantly letting their feelings affect their business decisions. The one time Roman slips up on this, the dick pic, it takes him down completely, but that's so minor compared to all the times Kendall lets his feelings control him. Honestly if Logan hadn't been so horrified by it (and let's be real he seemed more horrified by the fact that Gerri is "old" than that his son is sending dick pics to employees) and Shiv hadn't been so determined to use it against her brother, it could have been nothing.

Of course, the "it's bullshit" attitude is also why Roman will be fine. Kendall and Shiv are in hell, and Roman is just chilling with a martini: kind of sad for what was lost, kind of nostalgic as martinis are Gerri's drink, but he'll be able to move on far better than his siblings.

[yzy-dragon]

I absolutely ADORED S2E9 "Three Stories" of Link Click and was a bit surprised to see the discontent here on Tumblr, and I totally understand the reasons why people didn't like it, especially in the context of the pacing of the rest of S2 (which I also have some opinions on but I won't talk about that here), but I also felt the need to just get my heart out why I love it so much. A bit of background, I'm Chinese American but have lived in and visited China numerous times.

Music and theater. As a western classical musician and an amateur Chinese opera singer enthusiast (I saw someone else post about the possible inspo this episode got from Chinese opera), I VIBED with the artistic direction of this episode SO much. The three-part structure was almost like a sonata/symphony (and remember that one scene where Qian Jin was air-conducting in a previous episode!!) or scene changes in a Chinese opera. Nothing needs to be said about the animation style that hasn't been said already, but I like how scenes from the three individual "stories" were interwoven and reused like leitmotifs. Especially that crazy, tortured laughter. Idk if any of the parallels were intentional on the part of the director, but it's what I got from it due to my personal experiences. I know that's a highly subjective takeaway though, which brings me to my next point....

Qian Jin's "tragic" backstory. I know a lot of people were upset that the extent of Qian Jin's tragic backstory was "oh his wife cheated on him", but I think the "basicness" of his struggles was the whole point (by the way, this segment displayed various attitudes towards work, family, marriage, individual pride, and life in mainland China so subtly but so well!). I also don't think sympathy was the main thing we were supposed to feel for him, although of course there is some. The whole "tragicomedy" aspect of Qian Jin's story is that it's not some horrible, terrible, rare thing that happened to him, but a common problem faced by so many hardworking but busy married men trying to provide for their families: infidelity. But Qian Jin sees himself as the main character of an elaborate play that rivals the great dramatic classics (which, funnily enough, often depicted very DRAMATIZED versions of a rather basic series of events). And his viewpoint is validated when....

Qian Jin meets the twins. That segment is still largely from Qian Jin's perspective, because we still don't really know how LTC and LTX even feel about him. But for Qian Jin, it's a stroke of fate and fortune that could only possibly happen in theater. He's very far removed from reality at this point. Reality is that a cop whose job it is to investigate violent crime comes across two kids who are the victims of a violent crime. Again, nothing particularly special or even coincidential. It's comical like that.

The fairy tale section.  Unlike the first two, I think this segment is from Xixi’s perspective, which not only justifies the cartoony artstyle but also makes it heartbreaking, due to her childlike innocence.  Like Qian Jin, she also perceives her reality as something it’s not, but unlike him, she doesn’t have delusions of grandeur of being a tragic protagonist.  It’s just a little fox trying to survive in a forest full of predators and hunters.  

All that tortured laughter. I’ve actually noticed in a lot of Chinese media that they like to use laughter as a way of signifying a person’s complete mental breakdown due to the tragedies they’ve suffered.  It’s a very internal thing that has people on the outside going, “WTF?”  In this episode we have a lot of characters crazily laughing together at the same time and it seems like they’re relating to each other, but in reality they’re all trapped in their own nightmarish hells and motivated by selfish purposes. 

Back to the topic of Qian Jin, even though he (innaccurately) may see himself as the hero of his own story, it's not enough for him. He wants to use Cheng Xiaoshi to change the past. He wants to become the director of the play.

I know a lot of people were disappointed this episode didn't advance the plot, especially in regard to Cheng Xioashi and Lu Guang's storylines, but I was actually prepared for a backstory episode and couldn't have been more satisfied. Again, I have other opinions on the rest of S2 but at least standalone, I think this episode was nearly perfect. And I really wasn't expecting this, but it's really elevated Qian Jin to one of my top characters.

[theresattrpgforthat]

Learning How to Play Protect the Child: Part 6: Trust.

If you have never played a Forged in the Dark game before, picking up one can be intimidating, and that includes Protect the Child.

In Part 1, I introduced the Action Roll, as well as Position & Effect. In Part 2, I talk about Assembling your dice. In Part 3, I talked about Resistance. In Part 4, I brought up Stress and how it works uniquely in Protect the Child. In Part 5, I talked about Rest Stops.

I’ve finally arrived at a place where I can talk more about some of the mechanics of this game! So welcome to another How-To.

This week I’m going to talk about Trust!

Over the course of play, your character will need to work to make the Child comfortable in order to help them grow as a person, as well as encourage the Child to listen to the crew. This is represented through two, connected elements. One is your personal Trust Box, while the other is the Child’s Trust Clock.

Your Trust Box

Your Trust Box is a resource that you either have or you don’t. If you have it, the Child trusts you, and gaining further trust is easier. If you don’t have it, the Child doesn’t trust you. This means that getting them to listen to you might be more difficult, and continually letting them down will also make them trust the entire crew less.

At the same time, Trust is also a resource. You can choose to spend your Trust to get the Child to follow one of your orders without question, if you need to get them out of danger, or do something without causing any complications.

The Trust Clock

The Child has their own Trust Clock, which represents their relationship to the crew, rather than the individual characters. This clock fills whenever you…

take a moment to acknowledge the Child’s wants or needs

protect the Child from physical danger

show investment in the Child’s thoughts and feelings

take steps to bring the Child closer to their goal.

There’s also actions you can take during your Rest Stop to build up that Trust!

If you have your personal Trust Box filled, it becomes much easier to fill the Trust Clock. If you don’t have your Trust box filled, that Trust Clock also empties a lot faster, especially when you take actions that put the Child in danger or make them upset.

When the Trust Clock drops below 2 marks of Trust, the Child marks an Emotion, representing how losing their sense of security causes them turmoil. When the Trust Clock fills at 6, the Child becomes comfortable enough to let you learn something about them: a Thing That Is True. As your relationship develops, the Child becomes a more fully realized human being, and they also mark a point of experience.

If you want to start learning how to play Protect the Child, I recommend taking a look at the Learner's Guide, which you can download at the store page! I also have a number of Quickstarts that come with pre-generated characters, which cuts down learning how to create a character.

I also believe that playing is one of the easiest ways to learn, so if you want some hands on experience, hop into the playtest discord! There is at least one game happening every week designed to be easy for first-timers to hop into and give it a whirl.

[vi-is-badass]

This is going to be my scattered thoughts on Arcane season 2. Still reeling from the finale and some of these thoughts and opinions will change with time and re-watches. My thoughts have already changed a lot over the course of the last few days, so I might revisit this in the next couple of weeks, but for right now this is how I feel.

If you disagree with me that's fine. Everyone is going to have a different experience from you and connect with different things. That's why I love media and talking about it with other people.

Act 1 has really grown on me over time. Initially, I was a bit critical of the pacing and Vi's writing but with time, a re-watch, and talking with other people about it I have a significantly more positive view of it to the point I genuinely love the first act. Vi's writing especially works better for me when combined with what they do with her in the second act.

I love episode 3. It's a strong conclusion to act 1 and did pretty much everything I wanted to see in a follow-up to season 1. The Ashes and Blood sequence that cuts between Jayce, Ekko, and Heimerdinger finding the anomaly and the fight between Jinx and Vi was so well done that it is one of my favorite sequences to rewatch. It’s especially incredible from an editing perspective. The way the fight ends is also great with each characters reaction to Isha’s involvement being incredibly powerful on a personal and thematic level.

Act 2 is easily the strongest act for me because it takes the time to slow down and really focus on Vi and Jinx. They are what I consider the narrative heart of Arcane and it's their relationship that made me fall in love with the series in the first place. I think this act is phenomenal for both of them, doing so much heavy lifting to explore their characters and trauma in a quiet and subtle way. It really takes a look at who they were before they lost their parents-- the core of their characters-- and how it informs who they are now. How trauma and hardship shaped the two of them and who they want to be vs who they were forced to become.

To me, the " Remember Me" montage is the most beautiful music sequence of the season. This montage does so much in so little time. I will write something to expand on how I viewed the scene, but for right now, I'm just going to say it never fails to work for me emotionally.

Episode 5 is my personal favorite of the season. I love the way it explores the relationship between Vi and Jinx. They get to be siblings, fight like siblings, and finally start to reconnect after years apart without any influences pulling them in opposite directions. It's also another exploration of their longing over what could have been (What if vander and silco succeeded in creating zaun, what If silco found Vander's letter, what if they were allowed to talk in season 1, what if things with their second family didn't fall apart). It's a strong episode that is centered around what I love most about Arcane.

The moment when Vi trusts Jinx and puts down her fists, calling out to Vander despite her uncertainty, and Jinx's desperate attempts to see what happened in the aftermath really shows just how much they love each other and their individual growth.

The family hug where Vi looks at Jinx and tells her "What are you waiting for? He's your dad too." and she breaks down crying, lunging into the hug, is also one of the most potent emotional moments for me. (This family makes me emotional if these thoughts don't make that clear)

Act 3 still has me a little split, but I'm going to talk about the things I loved first because there are a lot of things I loved! I was overall mostly positive on it, but I have a few nagging issues.

Episode 7 is phenomenal. This is a close second for my favorite episode of the season. It's such a beautiful exploration of "What could have been". The way it shows that Ekko, the character the most adamant in the first season that Jinx is a lost cause and that they have to look forward, is also bogged down by a wish that things could be different especially when it comes to his relationship with Jinx/Powder, hits like a truck. His decision to return to his own reality and change what he can in the present, reconnecting with Jinx and helping save Piltover and Zaun, makes his arc one of the most effective and impactful ones in the season. It

Episode 7 also gives Jinx and Ekko's relationship the most beautiful and satisfying exploration of any of the relationships in the season for me. Ekko gets to see what Jinx could have been, that she was a creation of her surroundings rather than through pure choice like he convinced himself in season 1, and that the girl he cared about and loved/loves is in there and worth reaching out to. This alternate universe allows him to let go of his anger and pain over how things played out and mend that relationship that was broken in his universe.

Side note for the spiel above: The fact that the episode has Jinx and Ekko talk about Vi in such an emotional and empathetic way only for people to use this episode as a bludgeoning tool against Vi, saying her death made everyone happier and she made Jinx, is incredibly ironic and deeply frustrating to me. (It took me a minute but I realized my issues with this episode stemmed from the bad takes I've seen online rather than anything in the episode itself, but I'm glad I took that step back)

The dance scene with "Ma Meilleure Ennemie" playing over it was gorgeous.

The way that Jayce and Viktor's arc ends worked incredibly for me. I was initially worried because they had no screen time together in act 2 outside of Jayce killing Viktor, but the way they had their conflict play out in act 3 subverted my expectations and was very satisfying to me.

I actually like how Jinx's arc played out in the season. It was a beautiful arc that I felt was fully explored for the most part. I'll also probably expand on my thoughts on Jinx's arc once I finally recover from my most recent rewatch of Arcane and can pull my thoughts together to make something more coherent.

This isn't an act 3 specific thing, but I absolutely love how much praise Mel has been getting as a character since season 2 started up. I thought she was one of the strongest characters in the first season with a fantastic arc and I was so glad she lived to continue her growth in season 2. (She was awesome in this act though so it is a bit act 3 specific haha)

This one is hyper-specific but the shot of Vander looking at little Vi and Jinx with so much love while the words “if there was nothing to fight or protect maybe then I could finally be free maybe death is like falling asleep” play over the scene in the finale makes me want to bawl every time I see it and/or think about it more than any other moment in the series. That hit me so hard and it really shows just how much this series and its writing made me love these characters.

Now for the negatives. I didn't like how much they sidelined Vi for the final act. I loved what they did with her in act 2 and I have grown to love what they did with her in act 1, but I really don’t think they did what they needed to for her character in act 3. I do think the end point for her character is where she needed to end up and that it was where she was heading since season 1. I like the moments on their own, but she’s not in the act enough and her perspective is explored so little that it doesn’t work for me as a whole. We go from her breaking down after losing what’s left of her family (from her perspective) to a happy ending with Cait so quickly that it feels like whiplash. The show didn’t give us enough screen time with her in the third act for me to buy into Vi's ability to move forward from the weight of her guilt and feelings of responsibility. It’s frustrating because it’s that very part of her character, the guilt and responsibility that comes with being parentified at a young age that stays with you into adulthood, that really resonated with me and seeing the transition and healing from that being skirted over disappointed me personally. Still love the show and Vi is still my favorite character but the way the show handled her in the final arc was disappointing.

I will probably get crucified for this take but I was also a bit disappointed with how the show chose to brush over a lot of the things between Caitlyn and Vi in act 3. Act 1 introduced so many issues between the two of them that still needed to be addressed in act 3 (Caitlyn’s actions towards Vi in episode 3 and her prejudice towards Zaunites in particular) that their big moment didn’t feel as satisfying as I wished it did. I genuinely did want them to get together, I like that they got a happy ending, and I actually do like the scene where they get together because so much of it evokes the empathy and understanding I liked about the relationship in season 1, but I was disappointed they decided to sweep so much under the rug between them. I might have a different experience as time passes and I genuinely hope I do, but that's just how I feel right now.

I also wasn't a fan of how Vi and Jinx were sidelined during the final fight. I already talked about Vi, but outside of Jinx's big damn heroes moment she was really sidelined as well. We didn't get to see her and Ekko rally the undercity and her fight with Vi against Warwick, while emotionally impactful, lacked any tangible impact on the course of the final battle. Considering how much emphasis acts 1 and 2 put on Jinx stepping into a leadership role and being a symbol for the people of Zaun I think the decision not to show her do exactly that was a misstep and something missing from her arc. I think the fight with Warwick should have had some sort of importance in winning the fight against Ambessa and the Machine Herald.

Overall these aren't things that make me hate the show or the finale, but they're persistent issues for me that make the third act my least favorite of the season as a whole right now. I can understand why people would think differently. This was just my experience. I don’t want to be a blog that spreads negativity and I hope others enjoyed the show and found something to connect to. I love this show and it was a big part of the last 3 years of my life. I will always love this show.

[zer0-devoox]

My opinion of the ending of Murder Drones (which no one asked for but screw you)

Ugh... Okay, I've been putting off this post for a while, but here it is. I've heard many mixed opinions, "that it was a rushed ending" "that it was the best ending of the animation" and blah blah, well, this is my opinion.

It was... An ending.

X: Lmao, of course it was an ending girl, explain yourself

What I want to say is that we need to put ourselves in context a little, look people. Reality is what it is, Murder drones it was. A. Experiment. Those at Glich told Liam that they will develop the story in eight chapters to see how the project fares, and in the first chapters it looked as if they had a second season planned, only then the amazing digital circus arrived and even though it hurts...

AND NOT! I don't want to say that it's THADC's fault, much less @gooseworx I'm a follower of that series, I love the concept and I wish both series could have forty seasons as far as I'm concerned, but unfortunately, we're not Netflix, we're not Disney ( Thank God)

There were good parts and bad parts, scenes that I loved like N and Uzi formalizing their relationship in some strange way (although I wanted a kiss) and also really scary scenes, like Cyn giving Tessa's voice, and without going any further I am traumatized with a incoming call.

---Were there things to improve/that I didn't like?

Of course yes, for example the climax, yes, yes, I see people saying that Cyn was nerfed but that we are going to make the difficulty of creating such powerful characters, I guess.

One thing that bothered me was the treatment of other characters other than N or Uzi, for example Khan, Nori, or any other sequence, the one that annoys me the most, Lizzy, who is not a character I like, in fact I hate her, but at the very least he could have received SOME consequence for his actions, someone will come out and say that he had his development in the dance chapter, but I don't see it that way, I don't know, say you.

O thad who is top best characters and I love him

--DON'T MAKE ME TALK ABOUT J PLIS---

And what hurts me the most... V

What? Did you think I wasn't even going to talk about her? Well you're wrong!

I feel like the series struggled a lot to develop N and Uzi individually while also developing their relationship, but speaking of V... His development fell short.

I don't want to go on for too long (if you want a deeper analysis of the character, tell me and I'll do it) V had a very serious change from his personality in the mansion to the beginning of everything that happened in Cooper 9, becoming someone more sadistic and aggressive Since murder was her "job" in chapter eight we found out that she knew that Tessa was Cyn, but she was under changate (practically she and N each had a rifle in their heads, for God's sake)

The first time I saw the scene where V tearfully confesses everything to N, it broke me, I admit. But in retrospect, I feel like it wasn't enough. It was good to show the sensitive side of V that we were seeing through the impenetrable diva mask, but she herself tells Cyn that she "still can" which doesn't convince me.

I loved chapter six, it's simply one of my favorites, because with all the reasons to leave Uzi where Alice had them, he chose to save her.

Damn!

He defended her to tooth and nail, he seemed like a beast with -Tessa- and with N, he literally didn't want anyone to touch Uzi because she was hurt, without going any further

his damn last words were for her!

I loved that scene because literally and symbolically V took a step forward to break the block of ice that the two of they had placed in front of each other since chapter two, this is when V first calls her by her name, not cyn, not purple thing, not parasite... Uzi, just that.

And it bothers me that this was completely ignored in chapter eight (I mean, not completely but it was not given the value it deserved) From the bottom of my heart I would have wanted V to apologize to Uzi for everything he had done, for Uzi to somehow thank her and also apologize (because Uzi also almost killed her)

I know that neither of the two characters are the most emotional thing in the world, but I only ask for three dialogues, not a kiss and an emotional thirty-minute speech (which wouldn't have been bad either)

And spoken of the devil... The time

raised the hand who imagined that chapter eight would last (minimum) an hour. Because im yes, I feel that the ending was rushed, don't get me wrong, the final fight was beautiful, with framing shots and very very epic with the background theme. But, I don't know. I think that another ten minutes just to complete the developments, explain the unresolved doubts and give seriousness to some things was worth it (*cough, cough* Doll)

Anyway, this post already seems like a Twitter statement...

I love murder drones.

there isn't a joke that doesn't make me laugh or an emotional scene that doesn't make me cry, I wish with all my might for a second season of this series so much. potential, but it is what it is.

Anyway, I have a little faith in a spin-off or a continuation in some way because of the fucking open ending, nothing and no one is going to stop me from continuing to love these schizophrenic robots, or from continuing to ship my weird ships, far from it. to play eternal dreams at the faculty parties.

Leave your opinions in the comments or reblogs, I'll be reading them! And if you want V's analysis, say so! maybe we could reach 200 notes?? Who knows? Bey-bey devils don't get lost.

[wings-of-ink]

Related to your poll.

I picked this option: "Select specific/individual stats from a selection at the start."

I tend to prefer IFs with more flavor text related to selecting personality traits. But imo, the best of both worlds isn't exactly this. What I prefer are IFs that dedicate like one or two chapters to defining MC's traits, and then offer a personalized experience for the rest of the book / series, with the personality traits not changing anymore. Basically, a personality lock-in rather than selecting during the creator. This is the best of both worlds as it allows the player to actively select and fine-tune the personality organically during the story, but still sets something specific in stone for later that allows the author to still have a lot of flavor text.

I think it's a good system because depending on the author's writing style and the setting and context of the story, I don't always select the exact same personality type for my MC, and this is not something I can know when I'm just creating the character at the very beginning.

Another system I like is also with a lock-in, but where the player sets a "dominant personality trait" among their strong personality traits after a chapter or two. That means there is some flavor text based on opposed stats and what not, but more often than not the game will reference the dominant stat for the "main" flavor text.

Ultimately, it also relates to the age of the MC and pacing of the story though. If the story takes place during like 2 or 3 days, it doesn't realistically make that much sense for the MC to entirely change personalities, so I favor lock-ins (or preset personalities decided during character creation). Similarly, with older MCs who had time to really grow into themselves, it makes less sense to have personality changes during the story. On the other hand, teen MCs could only truly grow into themselves during whatever aventure the story is telling. And well, obviously if the story takes place during the span of months or even years, it could be outright weird to fully set the MC's personality in most cases (though exceptions can exist, depending on the writing style, of course).

That would be a great option, and it probably does make the most sense for a set-as-you-go personality system. I've often wondered if GC needs to have a similar cut-off.

The dominant trait is another terrific idea. I totally see where that gives you a good focal point. Best for both the reader and writer there.

I hadn't actually considered the age of the MC either. In the new IF they may need to be on the young side. It just depends on what I work out for the main plot to function. I will definitely take that and the time span into consideration when I make my final choice. I think I'm going to have to make some more concrete plans before I can decide. I imagine this story will take about a year and some change to get MC from start to finish.