#on your central characters’ agency and growth

[shorthaltsjester]

maybe this is just because it feels like a metaphor for how tlovm uses vex in general (and i could write an essay about it and have and will again) but something that i both understand tlovm choosing to do and deeply hate as a choice they made is vex no longer being the one to break thordak’s crystal even though vax was still the one to kill him. especially since the show was very explicit about thordak being responsible for killing the twins’ mother and also set it up as a sort of avenging of percy, it felt tonally weird to literally just have vex hanging out in the background for both the crystal breaking and him being killed. it’s fine (deeply upset voice) i understand that adjustments to pike’s vestige made this make sense for the plot but. glad to have vex continue to be a witness in tlovm moments that in the campaign her agency in were delicious character moments. it’s fine.

[yazthebookish]

I loved all of what Sarah highlighted in her interview today and I'll elaborate a bit especially on the romance part:

In Maas’ fantasy worlds, love interests often exist as fated “mates,” with invisible strings between them that are powerful and often poetic. Readers can see the literary metaphors, like complementary powers between two characters. But other times, there are no metaphors, with their connection initially seeming random.

She's too attached to the mate trope and I like that she gives us different cases and scenarios for it, otherwise it'll be boring.

“Sometimes, I will write a scene with two characters that I’ve planned for them to get together, and then they have no …” She shakes her head slightly at me. “It’s like holding two dolls and being like, now kiss! And they won’t. … And then sometimes a different character will walk in and they will just” — she snaps.

I yelled at this part because it's as if she plucked the scene from Azriel's bonus chapter and used it as an example. Those parallels between Elain and Gwyn are intentional. It doesn't mean Elain is bad it's just their dynamic doesn't work as a couple and it was obvious to the author. I know she didn't specify who this was about but like, come on, who tried to kiss and which character showed up in a bonus chapter after that depressing scene and gave a glimmer of hope?

“It feels like magic in a way where, as much as I tried to plot out things years in advance, I let my characters guide a story. And they usually wind up with the people that they need to be with and who offer them the most growth and joy.”

I love this so much and allow me to speak about my favorite ship and its because the snippets we saw of Az and Gwyn together especially in the bonus chapter brought out a lighter version of Az. His scenes with Gwyn were light-hearted and the bonus chapter ends on a hopeful note for them. It's hard to deny that connection between them whether you theorize she's luring him or they're mates, those theories wouldn't exist if she had no ties to him (she's in his own chapter like come on).

I go the philosophical route with my next question: We’re talking about fate here, but at what point is a character the agent of their own fate? What happens if someone rejects their mate? (Listen, if I were Fae and I didn’t like my mate, whatever God chose for me is not my business.)

People are jumping the gun and assume this example is set to be Elucien but... we have Helion and Lady of Autumn likely being an example of a tragic rejected mates story (if you read ACOWAR and their history it's obvious they're mates). Maybe it's Mor and Eris and that's the secret that ties them to each other. We have other characters from other series too.

For a convincing mate rejection story in my opinion, it needs more than one book or it's a case that we see with side characters where we can see their history and the long-term implications of a rejected bond.

It's too easy of a story to have one person's central conflict be the words "no I reject you" and they're done. Again, this is not exclusive to ACOTAR but also her other series.

“That’s something I find to be very interesting,” she replies. “What if the forces that be put you with the wrong person? Or what if you just decide, eh, I’m not interested. … There’s a lot to explore within the concept of mates and your agency about it.

The concept of agency is something many readers in the fandom discussed especially when it comes to mating bonds and there were arguments on (would Rhys fell for Feyre if she wasn't his mate or would have Cassian fell for Nesta if she wasn't his mate). We know that some mates don't work out but stay together because their dynamic is unhealthy (Rhys's and Tamlin's parents). We got examples of a loveless mating bond already.

We also saw that Nesta didn't immediately accept the term "mate" because it would mean cutting off her last tether with humanity. It's not a matter of "you're my mate" "yes I'll be with you", the dynamic between the mated couple is important to explore.

“I’m not going to say if I am exploring it in future books or not,” she continues, “but it definitely offers a wealth of things to explore with this concept of freewill and what is true love. Is it something that’s destined? Or is it something that you make? Is it both?”

This part aligns with what I think about Elucien. We never had a mated pairing who knew they were mates but are not in love with each other. Every mated couple found out they're mates when they were already in love.

Can a destined love turn into true love? Or do you settle for a destined love without love being in the equation. Love wasn't in the equation for Rhys's parents, but love was the equation for Feysand and Nessian. Elucien was left unexplored for a reason and both Elain and Lucien view each other by label "mate", they didn't have a chance to get to know each other. So it's going to be very interesting to see them navigate their feelings for each other despite the mating bond.

I didn't expect her to elaborate a lot on this but I love that she did and I hope in future interviews she gives us more good bits about her writing and examples of the decisions she took for some characters and couples.

Didn't expect this post to be long but happy reading! I'm still reeling from HOFAS 🥲

[blueskittlesart]

i've been occasionally watching critiques of totk just to hear differing opinions and a lot of them feel really nitpicky but the one that stuck out to me the most was the guy who wholeheartedly believed that the stories in these games could be improved by. removing link as the main protagonist. it should be pretty obvious that this take sucks ass but i wanted to see if you'd share your thoughts since you're good at putting your thoughts into words with this kind of stuff ^_^

ok this one is. strange to me. I'm not sure i'm equipped to critique it without getting the full argument from its source, because i assume that if the argument is that link SHOULDN'T be the protagonist, then they're arguing someone else SHOULD be instead, and not knowing who that is makes this a little harder to dissect. for the sake of this post i'm going to assume we're arguing for protag zelda, because she's the character who is the vessel for most of the story in botw/totk so i think she's the only character that makes sense. I'm also curious if they're advocating for removing link as a character from the story entirely or if they're just advocating for a change in framing from one character to another.

in any case, If i'm right about the above assumptions this seems to be another case of someone missing the central themes of the games. Because I concede that, at a glance, link kind of doesn't have that much presence in the story of either game. both games very heavily focus on zelda, with botw's primary story being about her struggle pre-calamity with her agency and her powers, and totk's primary story being about her journey in the past with sonia and rauru. arguably, the protagonist of these games in the traditional sense, i.e. the character who primarily experiences the highs and lows of the story and goes through an arc of growth, is ZELDA. link is, for all intents and purposes, the framing device through which we as players are witnessing ZELDA's story.

(full disclosure this turns into an essay on the way link is used as a character and a plot device bc i have no self control lol)

so why is link necessary, then? what is the point of the player experiencing the plot through a framing character like him instead of through zelda herself, the active protagonist? I think there are several layers to what makes link's presence in these games both necessary and irreplaceable.

the first and one of the most important reasons to have link in the active role is interactivity. I'm incredibly interested in video games as a modern art form and storytelling method, and imo the thing that sets video games apart from other methods of storytelling is their interactivity. In order to tell a story, an rpg drops the player into the middle of it. the player is an active participant in the story as it unfolds, and the player gets to experience and potentially alter the events in real time. from a consumer standpoint this may seem obvious and uncomplicated to execute--just take a prewritten story and put the player in control of one of the characters, right? but from a writing standpoint, it becomes really complicated really fast.

most stories are written linearly in a sort of cause-and-effect model, meaning events and actions will build on each other throughout the progression of the story. e.g: a monster attacks a village > because of the monster attack the villagers lose their homes > because they are now homeless, one of the villagers decides to slay the monster to take their village back > the villager slays the monster and the village is saved. each event builds upon the one before it, and if any of the events in the sequence were altered, the events after it would also be altered as well. if the villager decided to leave the village instead of fighting the monster, the event after that one would be altered and the village wouldn't be saved. What this means for interactive storytelling is that, if you want to have a single set course of events and ending (the standard model for zelda games) you can't allow the player to alter any events in that sequence. whatever character you give the player control of has to be able to experience the story WITHOUT substantially altering it. this becomes a dilemma because you as a writer need to toe the line between giving the player too much choice and altering the story/creating plot holes and giving the player too little choice and limiting the interactivity of your story. this is where the silent protagonist comes in handy.

the silent protagonist is a term for a player character which takes no action outside of what the player specifically orders them to. Link is one of the more famous silent protagonists, but other well-known ones include frisk from undertale and joker from persona 5 (worth noting that SPs don't have to be PHYSICALLY silent to be SPs, they just can't take any story-altering action without player input. joker actually has voice lines & is still considered an SP!) the silent protagonist is a popular model for RPG player characters because it basically solves the interactivity dilemma. A character with no personality is incredibly easy for players to project themselves onto, making them FEEL very in-control and immersed in the story even if they're not REALLY making any story-altering decisions. As long as your protagonist never breaks from player control and makes decisions on their own, the player feels like they ARE that character and will be much more susceptible to being thrown around by the story. A character with no personality or backstory is also conveniently lacking in outside motivations, meaning they're unlikely to need to substantially alter the story in any way that they aren't directly prompted to. for example, if we go back to that monster & villager story, if we turn our heroic villager into a silent protagonist, it puts a layer of distance between the hero and the villagers. the hero CAN choose to save the village, but they likely WON'T if the game doesn't prompt them to. this opens up several possibilities to us as writers--we can prompt the player to save the village, if that's the way we want the story to end, but we could ALSO prompt the player to side with the monster, or to ignore the village altogether, depending on what the story requires. when the hero has a backstory connecting them to the village, it's difficult to rationalize any response other than them attacking the monster, but removing that backstory gives us as writers more control AND keeps the player more engaged with the story at the same time.

so why does this matter for link? as previously mentioned, link is arguably the most famous silent protagonist of all time. this is something that's VERY important to the developers of these games--throughout the entire franchise, you will NEVER hear link say a word, and you'll also never see him take any action without the express confirmation of the player. link isn't a character through which the player is experiencing the story, link IS the player. thus, link is silent and takes no action outside of the player's control. relative to the story of botw/totk, link feels like he lacks presence in the story because HIS story takes somewhat of a backseat to zelda's. link's story in botw/totk is a relatively straightforward one--he wakes up, regains his memories, and saves the princess. that's his arc, and that's the arc that we as players are physically experiencing through him, but it's NOT the primary story arc of the games. the primary arc is ZELDA'S. at a glance, then, it almost would make more sense to make zelda the playable protagonist of the games. why are we required to witness her story as an outside observer in a medium which allows players to experience a story firsthand? why not drop us into HER body instead of link's?

because zelda isn't a silent protagonist.

Nearly all of zelda's story in both botw and totk is driven by her backstory and her internal struggle. she makes the decisions that she makes in botw because of her history having her agency denied by her father and being scorned by the goddess, and because of her passion for ancient technology and science. the plot of totk is similarly driven by choices she makes based on her emotions--most notably, her choice to become a dragon requires her to have complete faith in link and the courage to take a step that means losing herself. Because of the way these choices rely on zelda's internal emotional state and the context and backstory of her character, a player dropped into her body can't be expected to make them. We actually saw it a lot with criticisms of the way she acted in botw--people claiming that if THEY were in her shoes they wouldn't have been so emotional, they would have been nicer to link, etc. And it's true that a player who hasn't experienced the things that zelda as a character has gone through may have been able to have more rational or logical reactions to the situation she was in, but it's crucial to the plot that zelda COULDN'T set aside her emotions or the way that her past colored her perception of events. zelda is essentially the anti-silent-protagonist. she is the VOCAL protagonist, whose backstory and voice and autonomous choices are so crucial to the plot that removing them becomes nearly impossible. in order to tell her story in an interactive medium, she requires another character who CAN be controlled and whose decisions can be altered somewhat without derailing the plot entirely, hence why link becomes the vessel through which we see her story.

no less important a point is the fact that link is thematically important to these games as well. As previously mentioned, zelda's story serves as the primary narrative to both games. Link's story is still present, however, and it serves to reinforce and expand upon the themes present in zelda's.

in botw, zelda's story centers around her lack of agency. she is expected to inherit her familial power from the goddess hylia, a power which is required to stop the calamity. she spends her entire life training for this purpose despite the fact that she resents the pressure and wants no part in the war against the calamity, and when her powers don't manifest she is treated like a failure for it. she ends up believing she is worth nothing if she can't contribute by awakening her power and develops a harsh internal conflict between her desire to be accepted and needed and her desire to break free from the oppressive role she's been forced into. Initially, both she and the player believe link to be the polar opposite to her--the golden child to her black sheep. he's her age, but he's already mastered HIS power and is more than ready to take on any challenge, including the calamity. he's constantly receiving praise, he's well-known and well-liked, he's everything zelda isn't. however, as the story progresses, it's revealed to both the player and zelda that link is actually essentially in the exact same situation as zelda. He finds the role he is playing just as oppressive as zelda finds hers, despite being able to play it so well, to the point where he goes mute due to the pressure to perform. he functions in this story as a foil to zelda, the character who she plays off of. In learning about him we learn about zelda, and vice versa, and both characters undergo growth when they work off each other. much of botw's theming centers around growth, healing, and change, and link serves as a vessel to propel zelda's change by giving both her and the player a different view of their situation. He is confirmation that even if she DID perform correctly, zelda STILL wouldn't find the happiness and validation she's seeking, which in turn forces her to stop seeking validation from her father and hylia.

this same utlization of link is present in totk, though in a slightly different way. in some ways, totk link is more of his own character than a foil to zelda a la botw. Totk has two main central themes: the first being that hope is not lost due to one mistake, and the second being teamwork and community as an essential tool for survival and happiness. rather than playing off each other in totk, since link and zelda spend so much of the story so far removed from each other, they both play off these themes in their own ways, with both of their narratives coming together to reinforce the theming. zelda finds friends and community in the sages in the past, and her trust in her friends and community in the future is what allows her to send the master sword through time via draconification. In the future, link repairs communities that have been fractured by ganondorf and forges bonds with his own sages that will become his greatest assets in the final battle. Zelda works tirelessly to prevent the first rise of ganondorf, and even when she fails, link is there in the future to fix it. zelda loses her humanity in order to bring the master sword to link, but link manages to bring her back in the end. link loses his arm when he fails to save zelda under the castle, but when he DOES save her in the end, he gets his arm back, too. each of their stories play off each other and reinforce each other thematically.

I'm ngl this did get away from me the second i started talking about silent protagonists as a narrative device (i am crazy <3) but anyway. I do sincerely think that link is an irreplaceable part of these stories and I also don't think it's feasible to tell the story from any other angle. I think using him as both a framing character and as a narrative foil to the active protagonist was a really smart way to tell zelda's story while still keeping the player active within it. tldr link is the specialest amazingest most important boy in the world if you don't cheer and clap for him i'll fucking blow this whole building up

[datamodel-of-disaster]

Some thoughts about TTRPGs, and the ubiquity of DnD.

As someone who does not *love* DnD… it is still the only game I’ve tried with that particular vibe. And I don’t mean “medieval fantasy”.

I mean, an achievement fantasy underscored by mechanics built around an individual success-and-improvement narrative, with a large social component. (You win as a team, but you improve and grow as individual characters.)

This is mechanical, independent of what your DM may or may not put in the game.

Let me list it out.

DnD has no standard mechanics for detriments.

As much as there are possibilities for certain monsters and afflictions to permanently harm or alter a character against the player’s will, a DM has to actively choose to put those in their game, and even then there are typically ways to heal or fix them. In a typical game, there are no permanent, mechanically enforced negatives for your dude; no lingering injuries, no madness, no disabilities, etc.

Recovery mechanics are also simple and accessible (looking at you, Long Rest) and resources are not really set up to be scarce and/or a slog to track and ration.

(Mind you: I’m talking about mechanics that impose a permanent debuff or handicap on your character against your will as a feature of the game, not about playing a disabled character as your own choice.)

Simple, straightforward ability growth as a central mechanic.

DnD is almost entirely designed around characters becoming cooler and stronger over time. This ability growth is straightforward: no complicated skill tree system where you can get screwed over by your own suboptimal choices.

There is also no standard mechanic to lose abilities you’ve gained, nor is your degree of improvement every level left to chance. (The closest DnD comes to a chance mechanic in this area is rolling for HP, and even that’ll let you take average if you roll below). The game is set up to reward your character with ability growth just for continuing to play it.

Success narrative dominates.

The primary completion path in all DnD modules is “the characters win the day”. That’s what the game is about. And as much as some modules may try to subvert that with little bits of flavour text here and there, they’re doing so for show. The very manner a DM has to set up sessions is all about making the challenges appropriately levelled for the players to overcome. If you’re playing, you’re *supposed* to overcome the challenge. A game where everyone dies is not considered expected or desirable. And while a creative DM may occasionally set up an encounter the characters are expected to flee from… if it’s not telegraphed properly, the odds are they WILL die. Because the game is not set up for players to expect unbeatable challenges.

Significant character agency where it matters.

Agency is about more than just being able to make choices in-game. In DnD, you have the ability to make choices that feel situationally impactful. You’ll rarely have a situation where you consistently do everything “right”, roll well, and yet the enemy is entirely unaffected. Your abilities aren’t vague in power level or usefulness -even if you aren’t a particularly creative player, the stuff that’s on your character sheet that you can do is going to be at least moderately useful in most situations a typical game throws at you, even if applied with little finesse.

…

Like I said, I don’t *love* DnD. I’m not super sold on medieval fantasy to begin with, I’m pretty bad at basic number math (I have dyscalculia so this shit is hard for me), and I like supporting indie and less popular titles on principle.

But holy shit.

Can somebody tell TTRPG designers to please make a game that just lets me be cool and win at something?

I want to play a badass vampire! But in Vampire: The Masquerade, that’s kinda… Not Great. I want to be a faux-Victorian era paranormal investigator! But, ehm, Call of Cthulhu? Having my character die or go insane kinda sucks. I like scifi! But everything from Cyberpunk RED to the various iterations of Warhammer 40k RPG is bleak as fuck.

Mörk Borg? Dark and bleak. Candela Obscura? Dark and bleak. The Laundry? Dark and bleak.

(I’m not counting Pathfinder, as it’s basically just DnD with more math and a less straightforward character builder.)

I know I’m only scratching the very top surface of less ubiquitous TTRPGs here, but still. All these relatively well known and oft recommended titles completely fail to capture what makes DnD appealing to me -and I suspect, to many others.

In TTRPG spaces I often see people ask “Why modify and reskin DnD to be (insert aesthetic) if you can play (game designed in that aesthetic)?” And my answer is always the same. Because I want to have the DnD-style success experience, only with (cool aesthetic thing).

I want to play other games! I’m not hung up on medieval fantasy or the d20 system or spell slots or anything! I just… don’t want to play some bottom-feeding cannon fodder character in a Misery Simulator, engage with complex ethics as a game mechanic, run a one-person accountancy department to keep track of tons of scarce resources, have the other players as my de-facto opponents, be faced with challenges my character can’t do anything to overcome, invest hours into building a dude who gets offed in the first encounter, put my time in a game that progressively stacks detriments onto my character to shrink their success chances while the stakes keeps growing, etcetera etcetera.

Just, none of that edgy shit. Life’s plenty edgy already, I just want some easy escapism.

Anyway.

If anyone has recommendations for a TTRPG that sort of matches my list of requirements… I’m all ears. I like most stuff aesthetically tho I’m not super into either pirates or contemporary military as a theme. I also prefer games that don’t employ a gimmick (like jenga blocks, an hourglass, burning candles, etc).

[glitchpalantir]

Chris Avellone: The Architect of Emotionally Complex Worlds

If the game industry had poets, Chris Avellone would be its enigmatic bard—crafting stories that resonate long after the final dialogue choice is made. His name is etched in the DNA of RPG storytelling, a mind that dares to explore ambiguity, moral complexity, and human fragility in worlds both fantastical and broken. Today, I dive into Avellone’s design ethos through the lens of emotional immersion, narrative weight, and the art of making players question their every choice.

---

Narrative Design as Philosophy

At the heart of Avellone’s work lies a philosophy: no character or faction is ever truly good or evil. Every choice is a gradient, a subtle shift in the spectrum of consequence. In Planescape: Torment—Avellone’s magnum opus—the question “What can change the nature of a man?” becomes not just a plot device but the game’s central philosophical puzzle. Every encounter nudges players toward self-reflection, transforming gameplay into introspection. You don’t just beat the game—you live through it.

This narrative design is an exercise in empathy. Avellone forces players to embody flawed characters, live with their mistakes, and grapple with consequences that aren’t black and white. His stories don’t lecture; they guide, allowing players to stumble upon their own insights. This approach redefines the hero’s journey, replacing triumph with understanding.

---

Unreliable Characters, Unreliable Worlds

Avellone's worlds feel alive because they mirror the unpredictability of human nature. In Fallout: New Vegas, the factions aren’t just political entities—they are reflections of ideologies in decay. Caesar’s Legion, NCR, Mr. House—none offer a perfect solution, and therein lies the brilliance. Avellone leans into moral grey areas, turning every ally into a potential betrayer and every villain into a tragic figure. Trust becomes not just a gameplay mechanic but a narrative experiment.

Characters such as Kreia from Star Wars: Knights of the Old Republic II embody this philosophy perfectly. Kreia isn’t a mentor; she’s a subversion of the archetype. Her lessons are riddles, her motives slippery. She teaches you through contradiction, questioning not just the Jedi and Sith but your own beliefs as a player. In an Avellone narrative, you are always one step away from questioning yourself.

---

The Power of Player Freedom—But at a Cost

Avellone’s design ethos places tremendous narrative weight on player agency. But with great freedom comes the burden of regret. He doesn’t shy away from showing that not all paths are equal and that, sometimes, no choice is truly “right.” Decisions in his games often feel heavy, not because they unlock a specific outcome but because they force players to live with consequences that cannot be undone. This echoes life itself—a constant interplay of action, regret, and growth.

The beauty of Avellone’s design is that failure can be more narratively rewarding than success. Missing a conversation tree, failing a persuasion check, or choosing the “wrong” option can lead to some of the most compelling character arcs. Avellone’s games whisper: You can’t win everything, but you can find meaning even in loss.

---

Human Stories in Grand Settings

What sets Avellone apart from other narrative designers is his ability to tell deeply personal stories within expansive settings. Whether it’s the existential journey of the Nameless One in Planescape: Torment, the slow decay of hope in New Vegas, or the quiet tragedy of minor NPCs, his writing consistently focuses on the small moments—the ones that hit closest to the heart.

Avellone’s games aren’t just about the big plot twists or saving the world. They are about conversations with forgotten characters, personal confessions, and fleeting moments of connection that players might stumble upon by accident. These micro-narratives—the stories hidden in journals, overheard conversations, or optional dialogue—are where his genius truly shines. He respects the player’s curiosity, rewarding exploration not with loot but with insight.

---

Controversy, Reflection, and Legacy

Chris Avellone’s career has not been without controversy, and it serves as a reminder that no creative genius is without flaws. The public fallout in recent years complicates his legacy, but that complexity is, in some ways, a reflection of the very themes he explores in his games. Can art and the artist be separated? Should it be? These questions, uncomfortable as they are, feel eerily fitting when discussing someone whose stories dwell on ambiguity.

While Avellone’s future in the industry remains uncertain, his influence on game design is undeniable. His work has shaped not just how stories are told in games but how players experience morality, regret, and redemption in interactive spaces.

---

The Takeaway: Design with Questions, Not Answers

If there’s one lesson to learn from Avellone’s approach, it’s that narrative design should leave room for uncertainty. He doesn’t hand players answers on a silver platter. Instead, he asks questions—messy, uncomfortable, and deeply human ones—and lets players wrestle with them. As game designers, writers, or storytellers, we can learn from this. Don’t just design mechanics—design emotions. Don’t just tell stories—invite the player to finish them.

Chris Avellone may or may not return to the forefront of game development, but his storytelling philosophy endures. In every RPG that dares to question the nature of choice, consequence, or identity, you can hear echoes of his work.

And so, I leave you with this thought, inspired by Planescape:

What can change the nature of a player?

[welcome-to-oslov]

One thing that keeps me hooked is how Tilrey's growth/healing journey/setbacks/etc are woven throughout the saga, and central to it.

Unfortunately when something really traumatic & ongoing happens to you at such a young age, you definitely spend time re-facing it/re-facing yourself at every stage: in your 20s, your 30s, your 40s, in your friend/family/lover/colleague relationships, when you become a parent, as you build career, when you see yourself reflected in others, etc.

The recent ask about how Tilrey told himself at the beginning that "he'd made his choice" (which he implied no one but a worthless person would do, so he must be - devastating indeed, and you would subconsciously carry that with you) really struck a chord. And how you've said that in Oslov Unraveled one thing he must finally figure out (and overcome) why he's so uncomfortable claiming power.

What do you think are some of the most pivotal moments of growth/healing/self-knowledge Tilrey's had over the years - and some of the most pivotal setbacks to his healing/evolution? Or, if not most pivotal, what have been your favorites :)

I'm also dying to ask your thoughts of what you hope to see in Oslov Unraveled, but don't want to spoil it for ourselves - since you're the author 😅🙌

I have to think about this, because Tilrey has had such a long character arc across all the stories! I just started writing some “deleted scenes” from the very beginning, before the start of AtKoB, and I remembered something, which is that young Tilrey initially believes he’s “saving his sector” when he goes to Redda, because that’s what Supervisor Fernei told him to make him cooperate.

So that’s where his arc starts: naively believing that every trauma he experiences is for a good cause. When he starts suspecting that’s not the case, he also starts seeing his “choice” to cooperate as cowardly and bad.

I think this is a pattern he experiences over and over. Sometimes he thinks that everything he undergoes is in service of a higher cause, which gives him an incentive to be active, plan, scheme, fight. Then everything suddenly seems useless, and he feels powerless and falls into depression and self-hatred again.

He feels a sense of triumph every time he learns to exercise some control over a situation, even if it’s as bad as living with Malsha or Verán. But with Gersha, and then with the True Hearth, he finally starts to get some traction and find ways to have agency. He sees that he can do more than just survive.

The interrogation where Ranek Egil forces him to admit he was raped is a milestone, because he starts acknowledging that not everything was a “choice” as he once believed. He can realize he lacked agency in the past and still seek agency now. Reclaiming his sexuality and ability to feel love with Gersha is a milestone. Confronting Malsha and not being afraid of him anymore, same. After that, and reconciling with Gersha on his own terms, he’s ready to work with the rebellion and be a leader and not just a tool.

But throughout all these stages, he has moments of backsliding into self-hatred and feeling powerless. I think one problem is that he still doesn’t know how to express his anger except by turning it on himself. He does express some of it with Vera and Tollsha during the whole unexpected pregnancy debacle. But usually he uses sex, especially D/s, as a way to channel anger and aggression.

The character of Einara is sort of a shadow self who represents Tilrey’s anger and aggression to him. So when he asks her to hurt him, it’s therapeutic, but he’s still not fully facing those emotions.

I just reread the moment in Crosscurrents and Consequences where Tilrey says no to Besha for the first time. It may seem trivial, but it’s a big deal to him, the beginning of saying no more often. Years later, when Lindahl asks him for sex, he says no with zero apologies, and that one seemingly small no becomes a catalyst for the sequence of events leading to the revolution.

So: At the time of Unraveled, he has love and affection and support in his life, but he still struggles with forgiving himself, with expressing anger, with claiming the power he now has, with saying no. I don’t know if anyone ever entirely solves these problems, but he can still make progress.

One thing I want him to do is make peace with his angry, raging inner self, and I do have an idea for that. ☺️ Having sex with Einara helped him but didn’t really heal their conflict.

So anyway, I’m still thinking about these character arcs, but it’s great to have readers who understand how these issues recur cyclically throughout a person’s life and don’t just get “cured.” Thank you for the question! ❤️

[authoralexharvey]

Hi Alex! Happy STS!

If you had to sum up the central theme of each of your WIPs in one word (Hope, Love, Revenge, Family, etc.), what would that word be?

~Morri🗡 (@memento-morri-writes)

Oh boy this is a great one hahaha thanks for the ask @memento-morri-writes and happy STS

Let's see....

ASMLP - Determination. Simone is determined to get answers. Nadia is determined not to die. Etienne is determined to make sure no one gets between him and Nadia. Betrayal may also fit.

TWEfA - I struggled with this one, but ultimately, I think the answer here is Faith. There is discussions of Katalin's faith in Luriel and the Scholars, Maka's faith in the gods. Dakota's faith in herself and then, later on, in Luriel's goals.

Lilium - Closure, I think. While Lilith and Oliver don't fully get the closure they desire out of each other, the story explores how this lack of closure between them bleeds into the other issues they're facing through the course of the story.

Little Vicious Minds - Vengeance. I don't think I need to explain this one.

BTMS - Longing or mourning. Again, fairly self-explanatory.

ABTB - Apostasy. I just learned what this word means (renouncing one's religious/political beliefs) and that fits Toshiko's character arc to a fuckin T.

TOOD - Growth. Quinn changes as a person through the course of the book, in good and bad ways. They decide to regain control of their anxiety. They grow to take more agency of their life. Their love life grows with the addition of Jayashekar. It's meant in a lot of different ways.

WTTV - Heartache. I would also say mourning.

[grandmirage123]

How to Find Your Dream Home in Accra Real Estate Market

Accra, the dynamic capital of Ghana, is a city of contrasts and opportunities, known for its vibrant culture, rapid urban growth, and diverse neighborhoods. For prospective homebuyers, grasping the nuances of the local Real Estate Accra market is essential. This comprehensive guide will steer you through Accra’s real estate scene, providing valuable insights to help you find a property that suits your lifestyle and budget.

Understanding the Accra Real Estate Market

The real estate market in Accra has undergone significant changes over the past decade, driven by the city's economic growth, increasing urbanization, and a rising middle class. The demand for residential properties has surged, reflecting Accra's status as a major commercial and cultural hub in West Africa.

The city's real estate offerings range from luxurious villas and modern apartments to more affordable housing options, catering to a wide spectrum of buyers. Key neighborhoods in Accra, each with its unique character and advantages, include Central Accra, East Legon, Cantonments, Tema, and the Airport Residential Area. Central Accra, which encompasses areas like Osu and Labone, is known for its bustling atmosphere, vibrant social scene, and proximity to numerous amenities. East Legon is popular among expatriates and professionals for its upscale homes, excellent schools, and plentiful shopping and dining options. Cantonments offer a more high-end lifestyle with its luxurious properties and diplomatic presence, while Tema provides a quieter, well-planned residential environment. The Airport Residential Area, close to Kotoka International Airport, is favored for its convenience and high-quality housing.

Staying informed about market trends is essential. Recent years have seen an increase in property values, and the market continues to evolve with new developments and changing demand. Regularly engaging with local real estate agents and monitoring property listings can provide valuable insights into current market conditions.

Defining Your Home Criteria

Before starting your search, it's crucial to define what you are looking for in a home. This begins with establishing your budget, which should encompass not just the purchase price but also additional costs such as property taxes, maintenance, and utility bills. For those seeking financing, getting pre-approved for a mortgage can help clarify your budget and strengthen your position in negotiations. Consider the type of property that best suits your needs. Whether you prefer an apartment, townhouse, or standalone house will significantly influence your search. Similarly, the number of bedrooms and bathrooms should align with your family size and lifestyle. If you value outdoor living, look for properties with gardens, terraces, or balconies.

Finding the Right Real Estate Agent

A knowledgeable real estate agent can be an invaluable resource in your home search. They offer insights into the local market, help you find properties that meet your criteria, and guide you through the buying process. When selecting an agent, consider their experience and reputation. Look for agents who have a proven track record in Accra’s real estate market and those who specialize in the neighborhoods or property types you are interested in. Checking references and reading reviews from previous clients can also provide insights into an agent’s reliability and service quality. Once you have chosen an agent, communicate your needs and preferences. Regular updates and feedback will help them refine their search and find properties that closely match your criteria.

Navigating the Property Search

Start your property search by utilizing online platforms. Websites like Jumia House and Property24, along with local real estate agencies, offer comprehensive listings with detailed information and photos. However, online listings should be supplemented with actual property viewings. During viewings, pay attention to the condition of the property, quality of finishes, and any potential issues. Don’t hesitate to ask questions about the property’s history, neighborhood, and ongoing maintenance.

When evaluating a property, consider its condition, including any signs of wear and tear or needed repairs. Assess the safety, cleanliness, and overall ambiance of the neighborhood, and evaluate the availability of amenities such as schools, shopping centers, and public transportation.

The Legal and Financial Aspects

Before finalizing a purchase, it's crucial to address the legal and financial aspects of the transaction. Ensure the property has a clear title and that all legal documents are in order. Engaging a reputable lawyer to handle the legal aspects, such as verifying the title deed and drafting the sales agreement, is essential. Prepare for additional costs, including stamp duty, legal fees, and survey fees. If financing the purchase, explore different mortgage options and compare interest rates, loan terms, and repayment conditions from various banks and financial institutions.

Closing the Deal

Once you have found the right property, make an offer through your real estate agent. Your offer should be based on comparable sales in the area and your budget. Be prepared for negotiations, as the seller may counter your offer. Reaching an agreement might require adjustments to your initial terms. After agreeing on the terms, proceed with the necessary steps to finalize the purchase. This includes paying a deposit to secure the property, signing the purchase agreement, and completing the payment and transfer of ownership. Ensure that the property is officially registered in your name.

Moving In

Preparing for your move involves arranging utilities, setting up internet and cable services, and addressing any immediate repairs or renovations needed. Once you’ve moved in, take time to familiarize yourself with your new neighborhood. Explore local amenities, meet your neighbors, and settle into your new home.

Tips for a Smooth Home Buying Experience

Patience is key when finding your dream home. The process can take time, and rushing might lead to less favorable outcomes. Stay informed about market trends, property values, and neighborhood developments to make well-informed decisions. Seeking professional advice from real estate agents, legal advisors, and financial experts can help ensure a smooth transaction. Ultimately, trust your instincts and choose a home that feels right for you and your family.

Finding your dream home in Accra’s real estate market involves a combination of research, planning, and careful consideration. By understanding the market, defining your criteria, working with the right professionals, and navigating the legal and financial aspects, you can successfully find a home that meets your needs and aspirations. Accra, with its diverse neighborhoods and dynamic real estate landscape, offers a variety of options to suit every lifestyle.

Conclusion

Embarking on the journey to find your dream home in Accra Apartments can be a fulfilling experience, but it requires careful planning and informed decision-making. The city’s dynamic growth, diverse neighborhoods, and range of property options offer something for everyone, from luxury villas to more affordable housing solutions. By understanding the local market, defining your criteria, and working with experienced professionals, you can navigate the complexities of the real estate process with confidence. Start by gaining a solid understanding of Accra’s neighborhoods and current market trends, and set a clear budget that includes not only the purchase price but also additional costs. Partner with a knowledgeable real estate agent who can provide valuable insights and guide you through each step of the process. Take the time to explore properties and neighborhoods to ensure they align with your lifestyle and needs.

[htubmanrenrappingblog]

ISTHEREAGREATERINTENTIONSOF: THEIMPORTANCEOFOBTAINING

ISTHEREAGREATERINTENTIONSOF: THEIMPORTANCEOFOBTAINING… “Everybody wants to put their hands in this cookie jar and there’s nothing in it,” she said. “I mean, we’re broke, why do we keep on doing this?” DOLTONILLONIOS':THEVILLAGELOCAL… CITYGOVTAUTRHORITY*CONTROL??? B.P. Capital’s president did not respond to multiple messages seeking comment about these allegations. “I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

"THEVILLAGE'SACCESSTOMAJORRAILLINES… ISAMAJORECONOMICDEVELOPMENT*ASSET!!!" ["The racial makeup of the village was 90.69% African."]

Over the objections of Rogers, the board majority voted last year to fire an intergovernmental agency for the south suburbs that had handled the task and replace it with Calumet City-based private developer B.P. Capital under a no-bid contract. Under the deal, at which Rogers balked, the village is to seize vacant properties and turn them over to B.P. for repairs and sale. In trying to block the transfer of properties to B.P., Rogers expressed reservations about the firm. That led four board members who support the company to sue Rogers. The matter is pending. At least three Dolton residents have come forward to complain about past dealings with B.P., including Pink Dorsey IV, who paid the firm $80,000 for titles to a dozen abandoned homes in nearby Markham two years ago. Dorsey said B.P never turned over the titles. “I’m just one small person and I got duped, but a whole village shouldn’t have gotten duped,” said Dorsey. “Somebody should have done their due diligence. … There's no telling what else somebody will try to sell Dolton." Sandra Wells, a resident of Dolton for 19-years, said the flap over B.P. has led her to take a deeper interest in village politics.

“I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

Wells, director of a non-profit that helps people in the south suburbs fix and buy homes, said she is frustrated by all the scheming that goes on in a village that has so little to give.

Early industries in the Village of Dolton included a distilling company and a lumber company located along the Calumet River. Due to its close proximity to the City of Chicago, Dolton became home to many railroad companies, which further increased the growth of the village. In 1852, the Illinois Central Railroad became the first railroad company to settle in Dolton and began laying tracks for the Chicago and Great Eastern Railroad in 1865.Ultimately, ten different railroad lines ran throughout the village and created an industrial character for Dolton. In order to help mitigate the congestion caused by the excessive number of train lines running throughout the village, the first bridge was built along Sibley Street and 147th Street in 1936. Although the train activity began to decline in the mid-1900s, there has been a major resurgence in recent years. Today, the Village’s access to major rail line and railyards is a major economic development asset.

In 1973, Dolton Mayor Norman MacKay traveled to Capitol Hill to plead for federal aid in fixing a major problem that disturbed the quality of life in his close-knit, blue-collar suburb — a town that was in many ways a model of post-war America. Bill Shaw was elected Dolton’s first African-American mayor in 1997, but also held on to his post in the Illinois Senate, which he then used to steer millions of dollars in state pork spending to the town. Bill Shaw also hired Bob to be his $70,000-a-year inspector general charged with rooting out corruption in Dolton, though village ordinance made it clear that his brother and trustees were off limits. When Bill Shaw died in 2008, the pamphlet handed to mourners at his funeral proudly declared he had been “truly one who brought home the bacon.”

Bert Herzog, who lost to Bill Shaw in that 1997 mayoral contest, saw the legacy differently. Shaw increased racial representation through patronage, said Herzog, but also “spent us into a hole.” One of the sharpest disagreements at Village Hall turns on how to renovate hundreds of abandoned homes and get them back on the tax rolls, an enormous undertaking for any community let alone one racked by infighting and a sharp resource deficit.

Over the objections of Rogers, the board majority voted last year to fire an intergovernmental agency for the south suburbs that had handled the task and replace it with Calumet City-based private developer B.P. Capital under a no-bid contract. Under the deal, at which Rogers balked, the village is to seize vacant properties and turn them over to B.P. for repairs and sale.

Hear how B.P. Capital's plans have divided Dolton

In trying to block the transfer of properties to B.P., Rogers expressed reservations about the firm. That led four board members who support the company to sue Rogers. The matter is pending.

At least three Dolton residents have come forward to complain about past dealings with B.P., including Pink Dorsey IV, who paid the firm $80,000 for titles to a dozen abandoned homes in nearby Markham two years ago. Dorsey said B.P never turned over the titles.

“I’m just one small person and I got duped, but a whole village shouldn’t have gotten duped,” said Dorsey. “Somebody should have done their due diligence. … There's no telling what else somebody will try to sell Dolton."

B.P. Capital’s president did not respond to multiple messages seeking comment about these allegations.

Sandra Wells, a resident of Dolton for 19-years, said the flap over B.P. has led her to take a deeper interest in village politics.

“I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

Wells, director of a non-profit that helps people in the south suburbs fix and buy homes, said she is frustrated by all the scheming that goes on in a village that has so little to give.

“Everybody wants to put their hands in this cookie jar and there’s nothing in it,” she said. “I mean, we’re broke, why do we keep on doing this?” https://interactive.wbez.org/dolton/ https://vodolton.org/about/ |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

[k12academics]

En Route Transit is a specialized ground transportation provider offering tailored solutions for groups attending diverse events. Our commitment to excellence is committed to providing exceptional charter services to groups of passengers in San Antonio, Texas.

We are proud to highlight our array of certifications awarded by the South Central Texas Regional Certification Agency, signifying our dedication to excellence and inclusivity. These certifications include the Asian American Business Enterprise, Disabled Individual Business Enterprise, Economically Disadvantaged Small Business Enterprise, Minority Business Enterprise, Small Business Enterprise, and Veteran Business Enterprise distinctions. Each of these designations reflects our enduring commitment to fostering a thriving business environment.We hold the formal recognition as a Veteran-Owned Business by the esteemed Texas Veterans Commission. All customers, irrespective of age, color, gender, race, religion, or national origin, will be treated fairly and with respect. Our established dedicated customer support team is equipped to handle inquiries and provide assistance.

As the Founder and CEO owner of En Route Transit, I am deeply committed to leading with high character and integrity, setting the tone for the entire organization. My leadership philosophy revolves around transparency, empathy, and continuous improvement. I believe that open and honest communication is essential for building trust and maintaining strong relationships with my leadership team, employees, customers, and stakeholders.

I recognize that personal growth is an ongoing journey. I actively seek feedback from my leadership team, employees, and other stakeholders to identify areas where I can improve. I encourage an environment where constructive criticism is welcomed and valued. Regular one-on-one meetings with my leadership team provide an avenue for open discussions about our organization's direction, challenges, and opportunities. Additionally, I engage in self-reflection and participate in leadership development programs to enhance my skills and leadership qualities.

Transparency is a cornerstone of our customer relationships. We provide regular updates and clear communication on the status of orders, services, and any potential disruptions. Our customer portal offers real-time tracking, and we share insights into our processes, showcasing our commitment to honesty. Additionally, we openly share customer feedback with our internal teams, using it as a catalyst for improvement. For instance, during a recent service disruption, we immediately informed customers about the issue, outlined our mitigation plan, and kept them updated until the situation was resolved.

Our accessible buses are equipped with wheelchair lifts for passengers with disabilities, ensuring the inclusion of all travelers. En Route Transit LLC, which specializes in event transportation, offers transportation services for conferences, conventions, sports events, and large gatherings, as well as airport transfer services for timely pick-up or drop-off. Whether it be for corporate events, school trips, sporting events, or weddings, our charter services can be tailored to meet your specific needs. We take pride in creating customized itineraries for our clients, working closely with them to plan one-of-a-kind travel experiences that take into account destinations, schedules, and any special requirements.

En Route Transit LLC can accommodate time-sensitive needs, especially for events and airport transfers, due to its availability around-the-clock. Our services are highly adaptable, accommodating both small and large groups, and can be tailored to meet your particular needs. There are options for online booking and real-time vehicle tracking to increase convenience.

[blog-digital-trends]

Digital Agency Portland Products

The company works with shoppers within the business service, consumer product, and education industries. The fundamentals of each business are completely different, and target audiences would possibly range significantly in terms of character and conduct. Always ensure that a digital advertising agency has experience in the sector that your company serves https://goat.digital/.

And leverage each other’s abilities and expertise to satisfy our partners’ wants.

We empower individuals and groups to thrive in tomorrow’s enterprise surroundings.

Simplify information and gain essential insights on efficiency with a customized, cross-channel reporting dashboard, updated in real time.

At Foghorn Labs Adam combines his passion for outside sports with his advertising experience to help manufacturers succeed online.

To be efficient, Social Media campaigns require seamless collaboration between model, artistic, and digital teams.

Kokopelli is a Littleton, Colorado-based email marketing company. The small staff focuses on email advertising, advertising strategy, pay per click, search engine marketing, and more. Turn website guests into clients with conversion price optimization ways. Our Portland digital advertising company believes that CRO is a vital methodology to maximise a website’s potential.

The team of about 10 makes a speciality of internet design and growth, but also presents different companies, like mobile app improvement and UX/UI design. A landscaping firm engaged with Dynamic Designs NW for his or her branding and internet design services. They're tasked with all aspects of development together with emblem design, content advertising, and UI/UX design.

Click under to search out out more on the method to assist your corporation develop or on hiring Oregon Web Solutions, a one-stop world-class social portland digital agency media marketing agency. To be competitive and profitable, you could thus want to provide your business a much-needed web optimization boost by hiring a competitive and inventive SEO-based digital marketing company in Portland Oregon. It also contains the creation of appropriate link-building that ensures your Oregon based mostly business can compete efficiently. In case you are questioning what a well-designed search engine optimization marketing strategy can do for your business, here are some main benefits but you probably can reap from hiring a digital advertising company. Thrive is a full-service digital marketing company in Portland for native businesses of all sizes.

Mambo Strikes Gold On The Stevie Awards For Ladies In Enterprise

After presenting a number of temper boards, Gravitate designed and developed an net site based on the consumer's chosen design. Our tailor-made technique overview and individual channel plans give us the chance to debate and align on a shared plan of assault, from big-picture targets to granular ways and inventive approaches. No matter the project, we know that learning is the most important part of our work. Learning about your small business, learning about your prospects, learning about what makes you tick, studying about what works—it's central to our process and it is why we love what we do. At Thrive, we apply open and sincere communication with our purchasers.

Benefit Media Partners

They create full-customizable social media solutions that maximize ROI — via their providers that embrace PR, content material, photo & video production, lead technology, and web optimization. Marketing agencies must report back on the impact of their initiatives and campaigns. It is important for purchasers and advertising company groups to grasp how their methods labored. If an agency does not work on reporting impression and evaluation of the tactics, they would waste money and time on future strategies.

And to make matters worse, it’s onerous to find a reliable digital advertising company. Redefining full-service, this marketing agency joins data, expertise, and artistic spirit with various perspectives to solve the problems of their shoppers. They ship solutions that are thoughtful, creative, and technical with a human contact to the all the time digital. Specializing in B2B, this marketing agency combines search engine optimization and LinkedIn in their progress methods, which are “voraciously effective”.

Led by seasoned digital professional and CEO, Siouxsie Jennett, our senior team of strategists can help you develop practical objectives and develop a advertising plan that meets your targets. We can evaluate your marketing gross sales organization, help you discover the right people in your team, and supply coaching to ensure best-practice execution. Marketing may give you such a headache while consuming lots of your assets and time. Allotting your business’ advertising needs to a reliable unbiased agency can, offer you a lot reprieve by relieving you of pointless duties.

So far, they've carried out 242 profitable consumer campaigns. Whether you're a enterprise or particular person – if you're selling a product, a service, your content material or doing philanthropy, you would wish marketing. Even governments require marketing when they are campaigning. Marketing agencies develop inventive strategies based in your promotional wants. They make use of different channels of promotion and make certain that your model will get the right kind of attention.

Cassidy is a digital marketer who comes to Foghorn with years of experience working in digital advertising on the brand side, with a focus on paid media. With this, she brings a contemporary perspective to clients from both a brand and agency standpoint. Cassidy is a lifelong learner and greets every problem as a possibility to grow her skillset. Outside of labor you’ll find her surfing in the chilly pacific ocean waters, snowboarding at her local mountain, trail working, or taking half in within the yard with her four-legged friends. Prior to joining Foghorn Labs, Michael worked at a number of agencies specializing in portland digital agency growing comprehensive paid search strategies for each B2B and B2C clients. Michael has worked with a broad variety of shoppers ranging from higher education, law and tech however he is most excited about serving to brands develop their digital footprint in their respective industry.

Your expertise with us and your customer’s experience with you. Just a few of the good organizations with whom we’ve built evocative model stories, compelling websites, and benchmark-beating campaigns. Hybrid Moon Video Productions, content material producers for telling the story of your brand.

RxMedia provides full-spectrum advertising and BPO services to purchasers throughout the United States. Market your SaaS Tools and attain digital companies & advertising professionals worldwide. That’s why we use a collaborative approach when engaged on all buyer tasks. At Thrive, we take your goals significantly and can do the most effective we can to help you obtain success.

Strategies 360

Online advertising is a dynamic area with new advertising ideas and expertise being launched from time to time. Hiring a reliable native web optimization or digital advertising company offers your corporation a competitive edge as you get entry to essentially the most up to date digital advertising expertise out there at present. As against working with an in-house marketing group, a hired digital advertising agency reaches out far and extensive in seek for competent skills that when put to make use of can provide your corporation a significant enhance. Intuitive Digital is a marketing company based mostly in Portland, Ore. Since 2012, they've grown to a streamlined staff of about 10 employees. Intuitive Digital focuses on internet design, web optimization, PPC, and social media advertising.

[blueskittlesart]

So I have been reading you BotW/TotK analysis and I have gotta say that your insight is really impressive. I do have 2 points to make on the subject. Assuming that Calamity Ganon’s (the one that is fought in BotW) purpose is to draw attention to the underground (where Ganondorf’s corpse is) than that has some terrifying implications to how he operated in BotW. If there hero and Princess were successful in sealing away his calamity (which they were), than there is no way that someone like Zelda, who has both curiosity and altruism in spades would ever leave this problem unresolved. She would be determined to seek out the source of the calamity to make sure that no future generations would ever suffer as she and Link did, which in doing so would likely break the seal that was on Ganondorf. And if they failed to stop the calamity than Ganon wins and the calamity would destroy Hyrule (accomplishing his goals).

In regards to TotK, I do believe that Zelda will be physically incapacitated (either dead or in a stasis like state like in SwSd), though she will likely be involved spiritually as there is many ways she tan grow as a character (especially if there are flashbacks to the events 10,000 years ago, and even if she does die, resurrection is something that is present in Zelda so I doubt it will be a permanent death). I have a feeling that the ending will be bittersweet with both Link and Zelda surviving and perhaps breaking the curse of Demise. However I can see the Kingdom of Hyrule being annihilated beyond recovery, bringing additional meaning to “Tears of the Kingdom.”

Anyway love reading your thoughts and predictions of the game, makes the wait for May a lot more bearable.

yeah as to your first point that's exactly what i think is going to happen! because these games operate cyclically when predicting these plot points i'm constantly thinking about what has precedent, and there's a notable precedent in previous cycles for the princess's attempts at resolution to unintentionally lead to more problems for hyrule, forcing the princess to confront her own lack of agency and experience. I think that the calamity is playing into zelda's curiosity and moral compass specifically in beckoning her and link deeper under hyrule castle, knowing that she won't be able to resist trying to confront the problem once and for all but lacks the knowledge that might keep her from unleashing human ganon accidentally.

as for your second point, i sincerely doubt that death going to be zelda's fate in totk. call it optimism, but considering how she's been written up until now i can't see a way that death, even temporary death, would bring a satisfying or thematically cohesive end to her character arc. this is a girl we've seen do nothing but struggle her entire life. She is so, so, SO strong and stubborn and persistent that to cut her life short at seventeen (mentally. we're not getting into the 100 year gap here) just seems like an openly cruel treatment of a character so central to the game. A more cohesive end to her story, narratively, would be to allow her to live and heal when the game is finished, and i hope & believe that this is the direction totk will go. Zelda was the driving force for everything that happened in botw. she is the beginning and end of these games. to remove her from the final chapter completely would be a detriment to both her character and the game as a whole.

I also don't quite agree with the idea that the end of totk will be the complete destruction of hyrule. botw is, at its essence, a story about growth and healing. its characters convey this theme on a smaller scale, but more largely, botw shows us the ways in which hyrule grows and heals around destruction and calamity. to end its sequel with destruction and no hope of recovery is to trample over what made botw so impactful. in my perfect world, totk will end in much the same way as botw--with the promise that link, zelda, and all of hyrule will continue to grow and heal.

[r-2-peepoo]

Okay, if this is a joke and I’m just misunderstanding your sense of humour, ignore everything that follows. I’m bad with tone, especially through text, so it’s hard to tell sometimes. It’s very funny if you’re kidding.

If you’re not, I don’t know if I’ve ever read a more misguided, delusional and just plain incorrect interpretation of what is a pretty damn easily understood piece of media before. I’m not sure this isn’t trolling. I don’t know if I should even entertain this with a response.

You barely see any of them eat because it’s an action-based series, not a cooking show. You see Omega and Wrecker eat together because it serves as levity/comedic relief (also Wrecker’s muscle mass is bigger than everyone else’s so he logically needs more food). They don’t show everything because it’s not CCTV footage, it’s a 25 minute show. We saw them eat on Pabu to symbolise the paradise of the island, that they could finally maybe make a home there. Do you need to watch Crosshair shower or pee too just to make sure Hunter hasn’t revoked his bathroom privileges? Why would Crosshair need permission to do these things? (Rhetorical question, I don’t care what the answer you’ve invented is.) If he really hadn’t had anything to eat in three years, he would’ve died three years ago.

By your own logic of “I didn’t see it so it didn’t happen” Crosshair doesn’t give two shits about Tech because we didn’t see him burst into tears over him. Or Echo doesn’t care about Fives. We don’t see him find out about his death. Obviously neither thing is true, but according to your way of thinking, they are. You see how ridiculous that sounds?

This is how screenwriting works. The batch, Hunter particularly, will never be the villains you want them to be because that MAKES NO FUCKING SENSE. What the hell is a point of a show in a franchise about defeating evil that focuses on family if what it’s actually about is a bunch of psychopaths psychologically torturing their brother? No one would make that show, Disney wouldn’t greenlight it, and it certainly wouldn’t be marketed towards children.

This constant victimising of Crosshair is fucking insane. It completely infantilises him and removes any sort of agency he has as a character. His growth is why this show has been so fantastic. We watch in real time as he realises the Empire doesn’t deserve his loyalties, but his family does.

In the first season, he is actively trying to murder them. Sure, he had the chip but it didn’t make him any safer to be around and he told them he got it removed. He tried cook his former squad inside the exhaust of a ship, ordered his team to open fire on civilians and told them to aim specifically for Omega. That is not someone who will come off as trustworthy to the rest of the batch so excuse them if they take a couple of episodes to warm back up to him. Even he gets that. He’s a complex, multifaceted person, not an innocent little baby.

You are so determined for him to be a victim that you are doing to him the very thing you accuse the characters of. You take away his choices, a central part of his arc, and ignore his trauma. Have you considered maybe he finds it hard to eat because of his trauma? Being starved, like he was by the empire, makes it hard to consume food normally. You have to build up your tolerance for regular food again and it can be like torture. He needs time to heal. It’s not an overnight process, as documented in the actual show.

And speaking of his trauma, Hunter and Omega have both expressed concern and a desire to help him and Wrecker welcomed him back to the group with open arms. In fact I’d say Crosshair’s trauma is one of the key themes of the season. Omega particularly has only ever wanted to help him. She helped him meditate and focus to try and cope with the psychological issues he has and she’s used physical contact to reassure him multiple times. She’s also a fucking kid so trying to make it seem like she could control him even if she wanted to is beyond bizarre.

Let’s be super clear: Crosshair is a mass murderer. I adore him and how far he’s come, but it doesn’t bring back anyone he’s killed. If the batch assumed he wanted to hurt Omega when she was drowning, it’s probably because of all the previous times he tried to hurt her.

And the last paragraph really tells me everything I need to know. “Stop speaking for me” WHO ARE YOU??? You say this fandom isn’t a monolith, which is not something anyone has ever even implied, yet you assume this is about you and speaks for everyone when I specifically used language that avoided that. You projected that.

I don’t even know who you are. Try to comprehend the idea that people exist outside of yourself and that your experience isn’t the universal one. Did you want me to consult you before I posted on my own account, complete and total stranger? People online get so caught up in their own experiences that they can’t even consider that idea that someone might not be talking about them. Take a break and try and gain some perspective.

If you want to have these theories, go right ahead. I hope you’re wrong because I’d like Crosshair to survive. But keep these takes on your own account with people who want to hear it and try not to take things that have nothing to do with you so personally. The block button is right there. It’ll cause you so much less stress in the future, I promise.

You also clearly don’t like this show so stick to ao3 and find something else to watch. There’s no point in tormenting yourself like this. I’m sorry you’ve missed out on all the beautiful moments this show has provided. Just stop taking your inability to understand the media you consume out on people who literally want nothing to do with your wild discourse.

Anyway the silly Crosshair and Hunter are rivals narrative can finally be put to rest for good now that they are close again and Hunter as clearly demonstrated multiple times that he cares about and trusts Crosshair so let’s never ever ever pit them against each other again because they are literally family. Thank you. 🫶

[theoncomingchaos]

1000 Stars Ending- First Watch

I’m a bit late to finish the watch because of Obon, but I finally finished A Tale of 1000 Stars!

Final Thoughts under the cut including the second half of my analysis via a Queer literary lens.

First off, this show is really such a comfort. Even the dramatic angsty bits felt so cathartic and purposeful because we were all waiting for him to tell the truth and claim his own agency in his life. It was never going to be easy for him to tell everyone about Torfan, but we all knew from the beginning that it was not only coming, but that it would lead to a better Tian.

So many BL throw in pointless drama that really doesn’t have anything to do with the central theme. It’s just there to give an excuse to keep the main couple apart a little longer/create tension, and honestly it usually feels like filler. You know you have a good series when that kind of nonsense isn’t necessary because the story has a real conflict already baked into it- one that will lead to real growth and change for the characters involved.

Queer Lens:

As I mentioned last time, the very premise of this show erases a female character and throws a male into her story. Out of guilt, he proceeds to follow HER story and let it drive his life. This works out for him because he never really had a chance to make choices for himself or think about the future. His parents controlled everything and with his heart problems, he didn’t have to really face the idea of a future. However, once the Chief takes Torfan’s journal and the truth comes out, we start to see Tian come out more and more from the shadow of the stolen narrative.

One example showing that this is now HIS narrative was how he used his engineering skills to help the kids build kites. He understood the theory, even though he had never flown one before. Another is how he followed the men out to the woods even though it was dangerous and found out about the smuggling operation. He took action and became an active participant in his life, rather than a passive fill in for someone else.

Another important point is that his feelings aren’t coming from Torfan and that is made very clear in the series. This is not some supernatural story, she is very much dead. He may have her physical heart, but his feelings for the Chief came from him and even though it’s surprising for him, he showed courage in telling his friend and seeking advice and support about it. After that, he doesn’t shy away from it. He embraces his feelings for the Chief and in return they help him to find his own heart that he has never had a chance to really follow before. 

All of these pieces build to the climax, where he finally goes to count the stars and he can’t. Metaphorically, this is so beautiful because, beyond trying to deal with his literal conscious guilt over Torfan, his inability to count the stars shows that unconsciously he knows now that he can’t live his life following her footsteps anymore. He can’t be her or fill the spot she would have filled. We can go further and read this as in he can’t continue to live up to the gender and heteronormative expectations put on him by his family either. He isn’t a woman, he isn’t Torfan, and he isn’t the man his parents want him to be: obedient, ready to take over the family business, do whatever it takes to get what you want/need, show off your wealth, confident, marry a woman and carry on the legacy of the family by having children etc. 

He tries so desperately to count the stars because not only does he feel like he owes it to Torfan, but she has also been his guiding light. Without that, he doesn’t know what to do with himself which can be really terrifying. He has feelings for the Chief, but beyond that, he doesn’t truly know himself or what he wants for his life yet.

However, by forgiving himself for having a chance at life that Torfan can never have he fully lets her go and is set on the path to become his own person.

The remainder of the series does a beautiful job showing how consciously he didn’t know what he wanted yet by letting people make life decisions for him “since it’s for his own sake,” but the way he fell apart saying goodbye to the villagers showed that his heart already knew what he wanted. Fortunately, the narrative gave him another chance to be active in his story and to not only choose what he wanted, but to fight for it. His parents didn’t want him to be a teacher. It doesn’t fit their expectations of him, but he fights for it because he knows who he is now and what makes him happy and gives him purpose. We see a similar situation where he hugs the Chief in front of his parents at the airport. His mother is confused and seems disapproving, but even if that’s the case, we know that he isn’t going to just live the life he thinks he’s supposed to live anymore. Not the life his mother wants for him, not the life he once thought he owed Torfan, he’s going to live his own story. (Thus the symbolism of having his own journal at the end)

As far as queer narrative goes, when you live in a society that doesn’t accept you, a big part of life is struggling with this conflict- do you force yourself to live the way you are expected to or do you carve your own path and follow what makes you happy? I’m glad to see Tian had agency and took control of his own narrative. We don’t owe it to others to live our lives for them. We owe it to ourselves to find where we belong. It’s beautiful and worthy message.

The only thing that would have made me happier is to see him reunite with the kids, but it’s ok, we know they will be happy to see him.

[procrastinatorproject]

I made the big mistake of reading Terry Matalas’s interview he gave for some Trek podcast, and now I’m utterly heartbroken again.

Matalas talks about his history with Trek and teases some season 3 things. Among other things, he talks about how Picard is essentially an anthology show, with the only central focus being Jean-Luc Picard.

Season 1 was Michael Chabon’s vision of Trek, season 2 was Akiva Goldsman’s, and season 3 will be Matalas’s. And he talks about how the TNG cast didn’t get a send-off in Nemesis, so they needed to have a Proper Ending. But since the money for actors is limited, when he told the executive producers he wanted to bring back all the legacy characters that clearly meant letting go of all the new ones.

And it just... blows my mind that so very, very few people realize how deeply disrespectful that is? I mean... by all means, have an anthology show centred around Picard, but then that should have been what they set out to do from the start. Instead of telling us we were going to get many adventures with this new cast and how it was an ensemble show.

Not to mention that if you want to take over this show with the deep, layered, interesting new characters and write all of them out so you can make the TNG reunion you always dreamed of, THE LEAST YOU CAN DO IS MAKE IT POSSIBLE FOR THESE CHARACTERS TO COME BACK IN A SPIN-OFF!!!!

If you don’t know what to do with them and you don’t really understand them and you don’t care to give them their own arcs (since Rios doesn’t get any real development this season and Agnes is only there to facilitate the Borg Queen’s arc), fine. Other charcters have had seasons where they were ignored, side-lined, or written poorly. BUT DON’T ESSENTIALLY KILL THEM OFF SO NOBODY WILL EVER BE ABLE TO GIVE THEM NEW STORIES!!!

That just... blows my mind. And now I am very, very sad again. 😔

I’ve had some ideas about starting a re-write of season 2 to make it “You can have your Picard-centric pyschological drama with Q and the Borg Queen, but how about we are respectful to mentally ill people, actually take the characters we have and not some funhouse mirror version of them, and give the people who are ostensibly the heroes of this piece some development and arcs of their own and some base-level competent characterization.” And I was actually starting to get excited about it - but now I just feel very empty again.

I understand that a lot of TNG fans probably felt like this if they disliked season 1 of Picard and thought it wasn’t living up to the character they loved. But then again, season 1 was always extremely clear that it wasn’t going to be TNG season 8, that it would be extremely different from other Trek, that it would shine a critical light on the Federation and Picard as a character. They never made any pretens about that. And that’s what they delivered.

But they gave us zero indication in the run-up to season 2 that this concept had changed and we were suddenly doing a completely unconnected, context-less anthology where not only the story but also the characterization differ wildly between seasons. We had every reason to expect that they would continue the story of these characters they introduced us to in season 1. And then they didn’t.

And it probably wouldn’t hurt so much if they hadn’t written Agnes and Rios into corners where the only way to bring them (and I do mean them, the actual characters that Chabon created, not the strange season 2 funhouse-mirror version, the actual characters with agency and backstory and an inner life who make, you know, decisions that inform their growth!) back into the greater Trek universe is through some very convoluted storytelling.

I mean... if they ever let me write a Star Trek novel (or bully someone into writing it), it’s gonna be “how Agnes finally leaves the collective to actually grow as a person in her own right and then goes to the past to get Rios back to where he belongs: To his friends, to his family, to his ship and his holos. To his home.

But yeah. Man this is so fucking bleak!