#relationships drive the characters drive the plot but relationships=/=romance

[rozaceous]

i am tethered by the shackles of sasumari 😞… hakumari is cute, but i feel like there’s something that doesn’t connect quite the same for me. like sasumari feels like they understand each other really well and it’s almost private when u read their scenes, while hakumari’s dynamic reminds me of seeing people who are fwb interact. there is a lot of kinda shoujou romance worthy moments w mari sweeping haku off his feet, but i just really like sasumari :( i’m sorry

lol no need to be sorry! admittedly, i am intentionally upsetting the shipping waters (tho the ships are not the driving force of the fic, as such). i am just 😃 w everyone's opinions, pls know this.

[dullahandyke]

Sidenote I was never her biggest fan but whenever I see someone talk abt dahlia hawthorne as if she's some evil seductress who breaks hearts for fun I feel the intense urge to hit them with hammers. Fucker can you read????

[unproduciblesmackdown]

ideal scenario is that i like thinking about this like, essential short story adventure where winston and tuk hook up w/a couple [that bachelorette party] members, and as a foursome/quartet because they have these parallel stories of two pairs of friends who are like "sure i'd have sex with you if things aligned for that" and now are living that short story about expanding a dynamic & becoming closer friends for the end of it (of course billions only wrote winston as standing next to tuk next episode, instead of rian as he's often written to be standing with incl in a previous finale, to shove him out of the path of getting material and let taylor have confusing nonresolution w/rian based on this proximity and coincidence instead. but who can't say that that, And winston next not even trying to sit with tmc in the last finale appearance which at this point is probably for the best and instead again hanging out with tuk and then ben, isn't about having been closer for whatever all happened there in obtaining casual sex together)

and they can have perpendicular stories of also just having some nice chats and enjoying other interactions together such that maybe it's just fun for this one night of crossing paths, maybe anyone stays in touch at all, who even knows, if winston or tuk are dating anyone it's probably only going to come up again in how they were last dumped for being too much effort for how unepic they are, so godspeed to offscreen unmentioned dating. but just friendly acquaintanceship, or again this one-time spontaneously crossed paths night's acquaintanceship, is also a lot of fun. and why not imagine that winston "he's not allowed to not feel self-loathing or, by doing basic things like talking or initiating Or oppositng anything, Not operating as though he's too low in a social hierarchy here to be allowed thusly" type of material where his spontaneity, vivacity to bon vivantocity, self-assurance that is apparently arrogance/aggression to every who thinks he ought to be self-effacing instead, etc, is actually just a social success in other less wretched non-work situations, and his personality is taken as a contribution to the proceedings even before anyone takes up his proffered contribution of himself as a potential sexual partner. and lending confidence to tuk as like one person who won't, at any given time, go into hostile mode with him or even like take up the position of issuing this criticism, which is an inherently elevated (over tuk) one when it's a unilateral thing. such that tuk's personality can be a potential contribution as well. and winston and tuk's Friendship Developing Moments can be happening then, too, b/c Maybe they've hung out outside work on their own aleady, but also maybe they've never really been interacting with a larger group outside work, such that that group is less likely to include some people, or entirely people, who will suddenly go sicko mode on either or both of them. and then meanwhile, who knows anything abt this bachelorette party, could be already a cohesive friend group who all see each other all the time, or people who see each other more infrequently meeting up on this trip, or a mix; could be fun and chill or something so scheduled/demanding it's kind of like a work trip, or fluctuate....and of course zero info abt the individuals such that imagining anything abt them is entire OC territory, and i'm bad at that, or at coming up with stories, so not exactly a lot of details here from me but godspeed if two of them unlock another tier of friendship here b/c like parallel to winston and tuk, they're like hmm okay so we're mutually down re: potentially having a foursome here, and spending some time away from the larger group

(or of course the scenario that tuk and winston can also have that moment but just as putting "and/or: a threesome?" as an option, and that tips the scales for someone who might've otherwise felt more indecisive like "hmmmm casual convenient hookup, or spending more time out & about like this / whatever other activity...." but then is like oho Well, if it's a threesome, i'll seize that opportunity, sure....such that then maybe afterwards [winston and tuk hanging out together] happens sooner, if the third member feels more third wheel about things lol, since now they'd be the only two who already know each other. like ooh who knows, round n+1 in the aftermath just one on one (and/or i mean, maybe another thing the third party's still around for, re: further casual sex opportunities that don't just fall into your lap every day), and/or talk, watch tron together, go back out on the town even. where the conclusion of this truly is the essence of "it Is easy to imagine that winston and tuk are real Genuine Friends for the implicit further offscreen time spent together outside work / interactions between them here. and fun" and with that flair of "and give that a juxtaposed parallel in it being the same for a couple bachelorette attendees, why not, good for them"

[fruity-phrog]

Okay, I saw someone say that Nimona, while being good representation, “didn’t take the big step forward in queer rep that everyone says it did”.

That is wrong. So wrong, my dude.

Yes, an explicit and open queer relationship in children’s cartoons is not new, per ce. Hell, just this year, two popular kids’ cartoons had the main character in an open, adorable, plot-based queer romance. But this is different for a few reasons.

Reason number one, it isn’t left in suspense. Yes, they had that split for three odd weeks, but they started the film as a couple. One of the very first scenes is them together as a couple, Ambrosius saying he loves Ballister, them holding hands, Ballister leaning on Ambrosius’ shoulder. Ambrosius says he loves Ballister three times during the film, and none of them are any more than halfway in. It’s very clear, from their very first interaction, that they are an established relationship, which isn’t something I’ve seen...at all in other animation.

Secondly, they are the plot. Ambrosius not believing Ballister, Ambrosius cutting off Ballister’s arm, Ballister trying to get the video to Ambrosius - this is what drives the plot. In any other children’s animation with queer relationships, the relationship is not the main focus. Even The Owl House, which is so amazing with its constant representation, would still make sense if Luz and Amity never happened. But Nimona’s plot wouldn’t make sense without Ballister and Ambrosius’ relationship. It, quite simply, can’t be erased. It could work as a friendship, yes, but that’s the point. They could have just been two close friends that fell on opposite sides of a fight, but they weren’t. They were two lovers that fell on opposite sides of a fight. 

Thirdly, they aren’t sanitized for “family viewing”. An emerging trend in children’s animation is to only have mlm relationships as fathers to make them seem more “family friendly”. With the exception of Kipo, there really isn’t many tv shows or films that places light upon an mlm relationship. And if it does, it'll be a teen relationship because teenagers being queer tends to come across as less “dirty” and more “innocent”. But Goldenheart is none of these things. They are adults without the mollifying aspect of having a family. And on top of that, they fight. They wield swords and they get bloody and they shoot at things and get angry and yell. They aren’t “clean” and “innocent”.

As well as this, they are in a film. Films are far more accessible than tv shows. You have to watch twenty seven episodes before Lumity in toh is canon. Troy kisses Benson on the eleventh episode of Kipo. And there are two hundred and eighty three episodes of Adventure Time before Marceline and Bonnie kiss. But with a film, the queerness is much more forward - especially in Nimona, where it’s literally the second scene. Animated films hardly ever display queer relationships, but Nimona did.

Finally - they aren’t perfect. I don’t know about you, but three weeks of thinking your boyfriend/maybe ex is a murderer? Doesn’t sound like a healthy few weeks to me. I have only seen big relationship arguments portrayed in straight relationships in cartoons - think Star Vs The Forces Of Evil - whereas queer relationships either have the massive fight prior to being canonically gay - She Ra - or have conflict, not arguments, that are dealt with quickly - Dead End/The Owl House. But Goldenheart? Goldenheart suffers. Their relationship is pushed to such extreme boundaries as for them to be pretty much exes throughout most of the movie. And yet, they are clearly healthy, happy and very much in love at the end. 

TL;DR - Nimona is amazing with the queer representation, and it is a milestone for LGBTQ+ cartoons. Not only is the relationship romantic for the entire movie, the plot is driven by Ambrosius and Ballister’s sort-of-break-up. In short, they are treated the same way straight people are. They have flaws, they have massive arguments, they have plot importance, they have backstory. They are in love. And that’s what matters more than anything else. 

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[princess-unipeg]

I gotta say I’m impressed with what they done with Falin as a character.

She was set up as a plot device character, a sort of fridged character for her male relative’s main drive for the series and a sort of manic pixie dream girl for the other male character but she’s more than that.

She’s the autistic coded human mage who was set up as the weird girl who couldn’t make friends besides Marcille at the magic school she was attending. She followed her brother because she wanted to not just because she was asked. Falin chose to save everyone else at her own expense but she got to be revived thanks to the dungeon’s magic that keeps them alive. She was willing to eat the dragon that ate her. Even when she became the “damsel-in-distress” again she was also the fierce dragon for the mad mage.

She’s not motivated by romance. At least not initially. Especially with guys. At the end of the manga (spoiler alert), she turns down Shuro’s proposal and opted to follow her own desires rather than follow others like she has done her whole life. Falin doesn’t let the permanent feathers on her body phase her and she still wanted to partake in exotic monster cuisine like her brother and his party had been doing.

She got to be weird, flawed, and not limited by the relationships to the other male characters in the story.

[twilightkitkat]

Thinking about the role of the "love interest" in superhero media and how poolverine subverts this.

The "love interest" in most movies is just a placeholder. Boring. Tame, Predictable.

This is especially true in action media, wherein romance takes a backseat and is often seen as an add-on rather than a main plot point. Romance is either a source of conflict or motivation that serves to drive a character arc forward, but no more or less.

Take, for example, Vanessa. I love her character. Her personality and character are fascinating. However, especially in Deadpool 2 and 3, she serves more as a device to move the plot forward rather than a genuine character. The first movie established her character and importance, so it's understandable why Wade chose to hide his identity and how he slowly came to terms with his new identity. She helped move his character arc of self-acceptance forward, yes, but she also existed as her own entity.

In the movies after this, she isn't treated with the same care. She's used as a central motivation in Deadpool 2, a force that drives Wade to save Russel and confront Cable when his character motivations aren't easily tied to morals. However, that's it. She isn't fighting alongside him or given the same treatment as the other important "family" characters. In Deadpool 3, she's treated with even less care, only having short scenes at the beginning and end of the movie to give Wade a representation of "home."

This isn't to say Vanessa isn't an important character and shouldn't be treated as such. However, the purpose of having a "love interest" in an action movie's plot isn't just to have someone to love. It's almost always to have someone who can be kidnapped or killed to spring the main character into action. It's someone who fades to the sidelines so the main character can show off while showcasing their relationship success.

Consider this: in all of the Marvel comic universes, Deadpool and Wolverine have had many different partners. Different names, different faces. It's common for the "love interest" of a superhero to be seen as an accessory that changes shape depending on the comic artist or franchise. After all, they don't need a cohesive identity to serve their purpose as a "general, digestible reason for the main character to act."

Everyone understands how love can cause people to do crazy things. There is no further elaboration needed, even for morally grey or black characters. It's an easy way to make an understandable motive for the audience. Suspension of disbelief.

And yet, the superheroes remain the same. They get to keep their identity throughout different media. It's always Wolverine and Deadpool. Logan and Wade. Even if they have slightly different plotlines, their core characteristics and intrinsic identity are constant.

Logan could have Jean Gray. Or Mariko. Or Silver Fox. He can have anyone play the role of "love interest," a role that can be shapen by a ball of clay and changed entirely to fit the narrative.

But his "rival" and "best friend" in the multiverse will always be Deadpool. They're notorious for being referenced in each other's media. For fighting. For working together. They are A Set.

This is why I'm so much more drawn to Poolverine than other ships. Wade has different love interests depending on the media type. So does Logan. I can't tie in knowledge from different interpretations into the romance because the love interests are fluid. But with each other, they interact in almost every universe. Have a consistent bond. A "standard." They're soulmates, in a way, forever destined to meet and be important to each other.

This is setting aside how female love interests are treated in male-oriented media in general. They're normally seen as someone to be protected, to stay at home, and welcome back the hero when they return. Some are allowed to be strong, to have abilities, but rarely ever do they stand on equal footing with the male main character. Not where it matters.

This is exhibited in both Wolverine and Deadpool's movies. Vanessa is introduced as a "badass," someone who's part of the underworld and knows how to fight, yet she's often placed in the damsel in distress position. She could match Wade before his mutation, maybe, but after he dons the mask and becomes Deadpool, his work is over her pay grade. The same happens with Mariko in the Wolverine movie: she's initially introduced as someone who can fight, but Logan ends up protecting her almost entirely and is responsible for rescuing her from her kidnapping at the end.

It creates an emotional rift between the side of the "hero" and the side of the "love interest," because it feels like they aren't fighting together for the same cause. It feels like the love interest is treated more as a "reward" for the hero to come back to after saving the world rather than a person.

When the entire movie follows the perspective of the main character as they fight, and action scenes are primarily used to invoke emotion, it feels lackluster to have the love interest stay at home. The most intense moments of emotional connection are typically portrayed between the hero and someone else who understands their suffering who they're trying to reach, such as a villain or rival or friend.

Love interests are never on the same "playing field" as the main character and thus can't relate to their struggle. The director tells the audience that they should be happy or sad when a love interest is on screen, but they don't show the same level of emotional depth when the main point of an action movie is action. The entire premise of the main character is action, and yet the love interest is absent from it. Or a victim rather than a player.

This is why Poolverine subverts this trope. You have two people, each with their own franchise and life. Each with their own skills. Each with similarly powerful abilities.

They are equals and are treated as such by the narrative. They take each other seriously and have an emotional connection because they understand each other's suffering. They both are out on the battlefield, fighting the same war and overcoming their differences. They both are allowed to have "cool" scenes and "sad" scenes and "funny" scenes. They both are given the spotlight to experience character growth and have their own unique internal conflict because they both are strong characters who are narratively important.

They both have chemistry. Which is nearly impossible to attain when the love interest isn't even in the lab.

[batmanisagatewaydrug]

You seem like an incredibly well read person, plus someone with a lot of insight into intimacy because of your work. So, in light of your romance book reviews, which are an absolute highlight on your patreon, do you have any insight into what is needed/suggested for a good romance novel?

g o d this is so fucking hard and also really fun to chew on. I want to preface this by saying this is ENTIRELY subjective and based completely on what I *PERSONALLY* find that I enjoy in a romance. this isn't, like, an objective guide on how to write a romance that doesn't suck. that doesn't exist because people like different things, and I'm speaking from one perspective.

also I should say that my preferred flavor of romance novel is solidly contemporary. I haven't read many historicals, certainly not enough to opine well on them, I don't do those mafia dark romances or whatever the fuck, and I've barely dabbled at all in any kind of fantasy romance, whether they're full high fantasy or witchy urban fantasy stories. (although I'm about to do one of the latter next month, you can vote for a book on my patreon rn!)

having gotten all of those caveats out of the way, here's some shit I like and dislike:

there are exceptions to this but broadly, I prefer a POV for everyone involved in the relationship. to me a romance where we're only seeing events from the POV of one member of the relationship automatically makes it seem like one person matters more in a dynamic where everyone should be of equal importance. also, god, if the plot's really going to hinge on not knowing what's going on in one partner's head suggests that miscommunication is going to be a pretty critical part of the plot, and I hate that shit. TALK TO EACH OTHER. I'LL KILL YOU.

on that note, there needs to be an actual compelling reason why the characters can't be together, okay? the #1 driving tension of every romance is "why the fuck can't they be together yet" and you BETTER have a good answer. whether it's interpersonal or external forces, if there's a very easy solution to what's keeping them apart then your characters look dumb and I'm bored. one of the most frustrating romances I've ever read involved two characters who were mutually attracted to each from the JUMP, who refused to act on it because they were coworkers (neither of them in any position of authority of the other, nothing unprofessional or inappropriate about it) and they were "only" living in the same state for A YEAR. A FULL YEAR !!! shut up. get a grip and kiss each other.

now, having said that: whatever your bullshit reason is for these two characters to be interacting with each other, you need to COMMIT to that shit so hard that I, the reader, will feel silly for even questioning the logic. the worst offender I've ever seen on this front is D'Vaughn and Kris Plan a Wedding, which pulls its protagonists together via a reality TV competition and then just... promptly loses any interest in really dealing with the actual realities of being filmed 24/7? it's insanely distracting how little the book engages with its central hook, and was a huge point deduction for me. whereas you have, like, The Bride Test, a book with a premise that skirts dangerously close to a little bit of human trafficking but embraces the whole premise so wholeheartedly that you completely forget about the potentially horrific elements in there. who cares that Esme was bribed here with the promise of a green card if she seduces a man she's never met? there's whimsy happening! we've moved on! it's literally fine and she's in no danger except the danger of a BROKEN HEART.

this one is going to seem SO obvious but like. I need them to be actually like each other. I'm not saying they can't be mutually bitchy while they grow to like each other or anything, they don't have to always be NICE to each other, but there are so many M/F romances where the dude is just flat out fucking MEAN and condescending to the girl until he decides he wants to fuck her. and sometimes even after that! stop it! after a certain point I don't want her to fuck him I want her to run him over a car!!!! there's suuuuch a line between "guy I butt heads and exchange banter with but could fuck if we just got to know each other" and "man who hates me and is for real fucking bullying me."

"kisses only," "doors closed," whatever term they use for a romance novel without any sex scenes on page, I don't like it. listen: I know that they're not everybody's cup of tea, and I FULLY recognize that a lot of romance novel sex scenes are unfathomably cringe. and yet, I need them. partly because they're funny, but also because if this book wants me to be invested in the developing relationship between two adults who are supposed to be WILDLY sexually attracted to each other, then I want to see the damn sex. no matter how many bad similes or unfortunate adjectives it entails. and if you're not going to show me the sex, don't you dare have the characters gushing about how great it is. I'll be the judge of that, thank you very much. (I'm looking at you, Sorry, Bro.)

related: there's this thing that I call "Horny Wolf Syndrome," which is derived from this tweet:

initially I used it to refer to when previously sweet-tempered male romance protags inexplicably started talking like horny wovles during sex scenes - "LET ME SEE YOUR PRETTY CUNT ON MY COCK" and the like - but now I more generally use it to refer to scenarios in which characters of any gender completely dispense with their established personality while they fuck in order to fulfill a more broadly appealing, one-size-fits-all sexual fantasy. I hate that shit; if your characters act like completely unrecognizable people during sex, you didn't write very strong characters. one of my favorite things about writing sex scenes is that it's so SO interesting to see how their the characters' personal quirks translate into a setting that's very different from most other contexts, and it's deeply disappointing when authors take the easy route in favor of some pornhub dialogue.

one of the things that actually won my most recent read, Raiders of the Lost Heart, a HUGE amount of points with me was how frank the female lead was about initiating sex for the first time. it was completely in character for her and felt really different than any other book I've read, and honestly? it was a breath of fresh air.

[genderqueerdykes]

i'm not "evil" or "broken" for being aromantic. i've been like this my whole life. people kept telling me that I would start to develop crushes, and i would eventually fall in love, head over heels for someone and know what it was like. that i would fantasize about cuddling, kissing and being possessive over someone else.

that day never came. i never developed the urge to kiss or cuddle. i never developed the burning feelings that drive other people to pursue relationships. i never asked anyone out or felt the need to. i never felt like another person was "mine" or "my one and only". i never developed that sense of "special" attraction that everyone told me about. i never understood what people meant when they said those things, and i still don't

my best friend called me "heartless," "mean," "broken," and "evil" for not being able to enjoy romantic plots in media or understand why she liked romance manga so much. she told me i was an "emotional brick wall that needed to be broken down" because something must be "wrong" with me because i didn't gush with love over fictional characters getting together.

there's nothing wrong with me- i've been like this my whole life. i'm not "evil", "mean" or "broken". i'm just me, and part of what makes me me is not feeling romantic attraction or urges. this is a very big part of my personality. i am not obligated to bend myself out of shape to make other people happy. i am this way because i was meant to be. it's not a curse. it's just a state of being.

[writerthreads]

How to write lovers to enemies to lovers: a step by step guide

By Writerthreads on Instagram

Strong initial attraction

Begin by introducing two characters who are deeply attracted to each other. Show their chemistry and connection, giving readers a reason to root for their relationship. This makes the transition to enemies so much stronger.

Conflict or misunderstanding

Introduce a conflict, misunderstanding, or external factor that drives a wedge between the characters. This should be significant enough to make them enemies or at least create a strong rift in their relationship. Examples could be competing for the same job/role, being on opposing empires, and more!

Build emotional tension

As enemies, the characters should have strong emotions, whether it's anger, resentment, or hurt. Explore their emotional turmoil and how this affects their actions and decisions. Do the characters miss each other secretly, or do they fully hate one other?

Character development

Show how the characters grow and evolve during their time apart or in conflict. Each should have their own personal journey and realizations.

Forced proximity or new common goal

You could bring them back into each other's lives through a situation where they're forced to spend time together or work toward a common goal. This could be due to circumstances, work, or a shared interest.

Slow reconciliation

Let the characters slowly rebuild trust and friendship. Highlight the gradual thawing of their feelings and the rekindling of their initial attraction. Show open and honest communication between the characters, addressing the root of their conflict and misunderstandings.

Internal struggles

Show the characters' internal conflicts as they battle their lingering anger or resentment and the resurfacing of their romantic feelings.

Shared vulnerabilities

Reveal the vulnerabilities and insecurities of both characters. This can help readers sympathize with their struggles and hopes for reconciliation.

Love and reconciliation

Eventually, as they work through their issues, allow them to rekindle their love and passion for each other. This should be a satisfying and heartfelt moment.

Remember, it's essential to create well-developed, relatable characters and a strong plot to keep readers engaged throughout this emotional rollercoaster. The lovers-to-enemies-to-lovers arc is hard to tackle, but authentic character growth and compelling conflicts will make for a captivating romance story.

[lurkingshan]

Japanese QL Corner

We are back in the flood, with three (!) new Japanese QLs starting this week (we will be patiently waiting for @isaksbestpillow’s excellent subs on the new GL, so I’ll cover that next week), on top of our three ongoing shows. Three of these are streaming weekly on Gaga, with two provided via fansub (feel free to ask if you don’t know where to find them).

Love in the Air Koi

The much anticipated Japanese remake of Love in the Air is here, and it's off to a strong start! I'm a fan of the Thai original despite its flaws, and I am hopeful that a remake can elevate the core of the story while shedding some of the sillier plot aspects and filler. This first episode did exactly that, executing all the important beats of the original first episode in half the time, and establishing our core characters and their dynamics quite well. The casting is good all around, but Nagumo Shoma is perfect as Arashi, and he and Rei have good chemistry. I will look forward to this one every week.

Our Youth

Another strong start right out of the gate! This drama seems to be a second chance romance of sorts. We begin with Minase in present time (narrating about how he and Hirukawa can only communicate via letters, which I suspect may be incarceration-related?) before traveling back six years to high school to see their relationship unfold. Minase is a wealthy but lonely top student who teachers adore, Hirukawa is a poor and abused kid who teachers have already written off as a lost cause, and they are inevitably drawn to each other when Minase witnesses some of the horrible things Hirukawa is dealing with and keeps his mouth shut about it. This drama feels confident about the story it's telling and it's so beautifully shot. Hirukawa already has my heart. I especially like that his characterization feels nuanced and specific rather than archetypal; he is troubled but he's not a bully, and rather than rejecting care, he seeks it out from someone he perceives as trustworthy. I am along for this ride and excited to see where Minase's perspective takes us.

Smells Like Green Spirit

Ow, my heart. This week town gossip spread like wildfire about Mishima and Kirino's supposed romance, and both had a heart to heart with their mothers about it, with wildly different results. While Mishima's wonderful mother affirmed that she knows who he is and wants him to be happy and live his truth, Kirino was shamed and guilted by his homophobic wreck of a mother. We already know how much her grief weighs on him, and her inability to accept him will surely make things hard for him going forward. It was lovely to see he and Mishima escape together to their Shangri-La, however briefly, but I also felt sad that he kept his painful experience to himself rather than confiding in his friend. I just want them both to be okay. Yumeno also had a coming out of sorts, and while I was happy to see another supportive mother, I thought it overcrowded the episode to shove that in, too, especially with lots of time also spent on the villagers. I would have liked the focus to stay more tightly on our besties.

Love is Like a Poison

Welcome to the battle couple era!! Shiba and Haruto are settling into couple life (adorably), and Shiba is defiantly claiming Haruto as his partner for anyone who cares to know. And this week we get what we've been waiting for, as the story sets up the final boss, who appears to be an enemy of both Shiba and Haruto (the former professionally, the latter personally). Haruto is still not telling his Ryo-kun what he's driving after, but we got some helpful hints at the end of this episode about what is ultimately motivating his scamming. I am so excited to see them team up again to take this guy down.

Chaser Game W

I’ll keep this brief. This sequel season had little purpose, with a plot that changed randomly from week to week. They capped it off with a finale that made an insulting mockery of the homophobia real same sex couples in Japan face. This show sticks out like a sore thumb on this list of otherwise excellent Japanese queer media, and I’m very glad it’s over.

[intimidatingpuffinstudios]

Progress Update for August 2024

Hey, everyone!

This August has seen some meteoric progress in terms of development LMAO!

Both BtM and TSSW 3 have gotten a lot more content written, with BtM now sitting nicely at 60% completed. But the biggest winner has been TSSW 3.

The game has just come together in a way I didn't even dare hope for. I've written more for it these last two months than I did last year combined.

The plot is coming along in ways that I do not expect, and yet they slot in so perfectly with the narrative that it makes me wonder if my subconscious is the real MVP here.

But aside from the plot, it is the characters who have surprised me most of all. They are showing me who they are in such surprising yet visceral ways that all I can do is simply stand back and stare in awe.

In BtM, Zach and Cy are working relentlessly to realize their goal, their true faces coming through in a manner that might be unsettling to some. And yet, the thing shining through the strongest is their unrelenting, absolute devotion to the MC. All-consuming, breathtaking, and yet…somehow cruel. I just can't wait to show you.

As for TSSW 3, the Stone has simply swept me off my feet and I'm still reeling, gasping, kneeling in worship. This will truly be the book that makes or breaks your relationship with Sielthan, and you'll experience them in a way that even I couldn't imagine. 

When I started this journey, I thought of them as a potential trickster, someone whose intentions you can never be sure of. In TSSW 3, they grabbed me by the throat, looked me straight in the eye and told me, "That's not who I am." And who they truly are has left me breathless.

Another shock has been Manerkol. When I first created the character in my head, his unyielding, relentless drive was his main characteristic. This is a character who doesn't give way, who won't compromise no matter what.

Except, he isn't. Not with his MC. Manerkol took me by the hand and rumbled in my ear, "I don't want to fight anymore." The man who has fought everything and everyone all his life has finally found the one person he doesn't want to fight. The one person he wants to hold instead. He looks at his MC and makes the scariest, most powerful decision he could ever make: he puts his sword down.

When I tell you I was SHOCKED once it dawned on me…. I guess it's not just my characters changing, it's me too.

I will continue to write as passionately as I have the last couple of months, with a greater emphasis on finishing TSSW 3. That will take priority, because I am SO close to finish line. I believe I will be done with main plot/Manerkol/Stone routes by end September.

And then it's the rest of the romances left. 

Wish me luck!

[hpowellsmith]

Heart's Choice WIP announcement: Heart of the Mountain by Fay Ikin

Heart of the Mountain is a new Heart's Choice text game by Fay Ikin, the author of Heart of Battle and Asteroid Run: No Questions Asked. It's in the same setting as Heart of Battle, with a new MC and totally standalone.

Play Chapter 1 here! Fay would love to hear whatever feedback you have if you have a moment - either on the forum, or send it to me and I'll pass it on to her as she's not on here.

-

The war between the Coritan Republic and Messimera has been over for years, but as a magician you’ll never be free of your duties to your country.

With control over warmth and heat energy, you’ve been sent to a remote Messimeran outpost, where a small group of soldiers from both sides have been tasked to cooperate and guard the northernmost demilitarized zone…where your predecessor went mysteriously missing.

If anyone crosses the mountain pass or the frozen waterway, the peace treaties could fail. It’s frigid, isolated work, and monotonous until a mysterious fellow magician falls at your doorstep hiding dangerous secrets. Will you welcome your kind, or support your colleagues’ suspicions of them?

Everyone has their own agenda - and their own secrets to guard. When their goals oppose each other, who will you support and who will you stand against? Who will you keep close when your magic starts to fail, when paranoia and fear strike the outpost? A mysterious force within the mountain threatens to topple everything your country has worked for. What are you willing to lose to survive - your livelihood, your love, or your magic itself?

Heart of the Mountain is set in the same setting as Heart of Battle, 4-5 years later. All of the characters are new for this game, though backstory elements can have some familiar notes from the previous game. You won’t need to have played Heart of Battle to play this game.

I’m aiming for 3 or 4 chillies - some sex scenes are very explicit, and some will (at the reader’s choice) feature some intense kinky experiences.

As with Heart of Battle, it’s v/v. The MC can be a man (cis, trans or non-specified), woman (cis, trans or non-specified) or non-binary person (AMAB, AFAB, or not specified); the love interests are selectable between cis man/cis woman/non-binary.

There are four characters alongside the MC - everyone the MC interacts with is romanceable and plot relevant, and the conflict between different love interests’ goals and ambitions drives the plot.

All the characters have the possibility of a happy ending, but on some high-conflict routes some characters can become hostile antagonists

There are currently some polyamorous options planned: Eleri/Felician/MC, and Stelare/Theano/MC.

Romance Options:

Captain Felician Resende

GRIEVING OFFICER from the Coritan Republic

Felician’s magician best friend, the MC’s predecessor, went missing a month ago: a devastating loss Felician is still struggling to accept. With bad experiences with magic in the war, and a lingering deep distrust of magic, Felician’s trying hard to keep it out of the way of professional - or personal - relationships.

Best Felician: honorable, go-getting, enthusiastic

Worst Felician: inflexible, manic, controlling

What to say: “I agree, a five mile hike is a perfect team-building opportunity!”

What not to say: “I hope you don’t mind, I’ve made some amendments to your chore chart!”

-

Sergeant Eleri Katsaros

CONFLICTED ENGINEER from Messimera

You can’t get secrets out of Eleri with a prybar, but it’s still obvious that Sergeant Katsaros bitterly regrets whatever happened during the war. So now, here’s someone committed to being kind while frozen with shame. Eleri can’t imagine being called a good person, let alone believing it.

Best Eleri: Idealistic, practical, reliable

Worst Eleri: Fatalistic, brittle, volatile

What to say: “Let’s stay up until four in the morning to do inventory. In silence.”

What not to say: “I’ll only give you your toolbox back if you can name five things you like about yourself.”

-

Doctor Theano Leventis

MISANTHROPIC PHYSICIAN from Messimera

“Doctor Leventis has the potential to be a shining star of the Messimeran Army…if only Leventis could match talent with compassion”.

This, like other performance reviews, Theano has disregarded as ‘pointless sap’. There’s little point in babying other people’s emotions when there’s any number of things to do instead: music, reading, gambling, scientific analysis…you name it, Theano can do it. Unless it requires a bedside manner.

Best Theano: Creative, progressive, perceptive

Worst Theano: Bitter, destructive, dismissive

What to say: “Why would we be emotionally vulnerable with each other when we could get drunk and pass out instead?”

What not to say: “I’m sorry, but the future of the outpost relies on your ability to give me a convincing hug.”

-

Stelare Belmonte

FLIGHTY MAGICIAN from the Coritan Republic

Magic academy washout, army washout, an Illustrious’ magickeeper’s washout, an arena designer washout…is there anything Stelare can’t get fired from for ‘wilful disobedience and lack of adherence to basic safety’?

Stelare has telekinetic magic: the application of force to move and manipulate the world. But instead of being indispensable, Stelare has happily embraced the label of ‘massive liability’ and the freedom that comes with it. But what exactly is the plan on this remote, classified mountaintop?

At their best: Passionate, ambitious, protective

At their worst: Unpredictable, careless, vindictive

What to say: “I made you some hot chocolate, the others are so jealous!”

What not to say: “You don’t scare me…you’re just mediocre.”

[kirain]

What's your take on the whole Max and Chloe break up in Double Exposure?

Also are you going to play it? I enjoyed your analysis of True Colors and Before the Storm.

Thank you! And oh boy...

My friends and I have actually been talking about this for the past few days, and maybe it's just my specific friend group, but ... we're fine with it? 😅

None of us sacrificed Arcadia Bay for Chloe. I'd say half of my friends hate her and half of them love her, but even my friends who love/relate to her couldn't justify it to themselves. One girl from our group, who dyed her hair blue after playing the game and absolutely worshipped Chloe, still chose Arcadia Bay. So from that standpoint, none of us are really hurting from Deck Nine's decision.

As for the people who are hurting, I'm sorry. Truly. I'm sorry you're disappointed. I understand how it feels and it sucks, especially when you chose Chloe despite the consequences. That was your decision and you had the right to make it. You had the right to enjoy it. Narratively, though ... it does makes sense. At least in my eyes. The only aspect that doesn't is Chloe ending up with Victoria, which I've heard happens? But I've searched high and low and that doesn't seem to be confirmed anywhere. There's a message where Victoria and Chloe go to a concert together, but that doesn't mean they're a couple, so I think this is just a stretch from angry players.

Other than that, I don't find Deck Nine's thought process all that outrageous. Their reason for breaking up is something I considered when it came time to choose between Chloe and the town. Chloe openly asks you to sacrifice her, saying that her mom and everyone else in Arcadia Bay deserves better—and I agree. Joyce, David, Warren, Kate, Alyssa, Stella, Dana, Daniel, Ms. Grant, Samuel the custodian, they all deserve to live. Even the characters we don't like, like Taylor and Victoria, at least deserve a chance. They're teenagers.

If you sacrifice Arcadia Bay, the animation when Max and Chloe drive through the demolished town clearly shows an air of regret on Max's face. She refused Chloe's first and only selfless demand and let thousands die for her; animals, men, women, and children. I personally find it difficult to believe that their relationship could work after that. Even the comics explore this concept, with Max leaving Chloe for a while because she can't handle the guilt.

The first Life is Strange is essentially a game about a girl who can't stop running from the past and a girl who can't let go of it. Given what Max and Chloe go through together, and considering how different they are as individuals, it's perfectly reasonable to assume that, as they grow and mature into adults, they wouldn't be able to salvage a slowly breaking relationship. Chloe would forever see the girl that killed thousands—including her own mother—for her, while Max would see a constant reminder of all the people she killed. It's a very realistic outcome for Pricefield, if we're being honest. And according to the letters, Chloe wanted to move on, but Max couldn't, while Max felt like Chloe was being a hypocrite. It's raw and complex and entirely believable.

Not to mention the first game never promises that Max and Chloe become a couple. You can sacrifice Arcadia Bay without romancing Chloe. There's two variants, couples or besties. So how on earth was Deck Nine going to cater to everyone, especially when there's a timeline where Chloe is dead? It would be impossible without making two drastically different games. Their only option was to remove Chloe from the plot entirely (alienating her fans) or miraculously revive her, in which case she would become the main focus of the story instead of Sifa, and it would negate the majority of people's decision from the first game. Nearly 60% of players sacrificed Chloe across the board, so I can understand why Deck Nine gave that outcome precedence. But it was a lose/lose situation from the start, so perhaps the best argument one can make is that they shouldn't have made a new game at all.

NOTE: I just found out that in the comics, Victoria and Chloe actually become good friends and Victoria matures a ton, so I dunno. Maybe the two of them getting together makes sense after all. 🤷‍♀️ That said, the comics aren't canon to the games and, in my opinion (based on what I've researched), they seem like a fanfic written to try and justify the sacrifice of thousands of innocent people, so I'm pretty indifferent to them.

Of course, there is another detail I've rarely seen people broach when discussing this drama: we don't really know anything yet. Above all, I think we need to remember that the game isn't finished. We've only seen two episodes. We have no idea where the narrative is going. For all we know, Max and Chloe might get back together by the end. Or even more likely, this is an alternate timeline Max. Much like the comics, this is just one of infinite possibilities. I think people need to calm down and hold their criticisms until we see the final product.

[absolutebl]

This Week in BL - All's Quiet on the BL Front

Organized, in each category, with ones I'm enjoying most at the top.

May 2024 Wk 3

Ongoing Series - Thai

Wandee Godday (Sat YT) ep 3 of 12 - I love how were getting a solid depiction of two queers just genuinely enjoying sex with each other. That’s actually rare in BL. In this case, it manages to also be weirdly adorable and cute.

Dee is such a tease. I guess Y likes a brat? 

LOOK at those bedroom eyes!

Linguistics corner: when these two are being serious, sweet, or flirty with each other they use rao/nai which is kind of old fashioned and charming and not common in BL. They move pretty seamlessly into gu/mueng and back depending on the style of convo, tho. It's FUN to hear them talk.

Let the fake relationship commence!

My Stand-In (Thai Fri iQIYI) ep 4 of 12 eps - I HAVE THOUGHTS. I'm really enjoying the sinister backbone of this show. I hope they have the courage of their convictions in that regard and lean into a kind of sexy evil revenge narrative. It was a pleasure to watch the break up and I do not want a redemption arc for Ming or a romance for us. Fuck 'em, let’s just ride a revenge train, okay Joe baby?

That’s said, I totally sniffled at the ending scene where Ming (for two years!) has been paying penance cooking for two and waiting alone. Excellent pathos. Now, I understand how they're gonna make this a full 12 eps. And I’m excited about it. Carry on!

We Are (Weds iQIYI) ep 7 of 16 - I wasn't a fan of Winny & Satang in My School President but I'm loving them in this. The thing with Q, Toey, and Chain had me hooting with laughter. I think I’m finally just easing into the relaxed absurdity of this show. The key is not to expect anything from it. Just them being tiny gay idiots.

Two Worlds (iQIYI) ep 10 fin - Someday I’d like to really enjoy a MaxNat show, but today was not that day. (I feel like ever since Between Us I’ve been generally disenchanted with established OG pairs and what they’re bringing to the table. Perhaps that’s a discussion for another day. Cherry Magic excepted, of course.) 

OK, so this final episode, they sure tried to fit a lot in. But that made the pacing better for me. So I kinda liked this weird cliff notes resolution to the story.

In conclusion:

MaxNat do a credible job with a messy script about parallel worlds, gangsters, and strange diseases cured by forest fruits. It sounds confusing because it is. The chemistry is excellent the side pair is entirely forgotten about, and one could drive a Tardis through the plot holes. Still, I found it modestly enjoyable if not at all rewatchable. 7/10 

Only Boo! (Sun YouTube) ep 6 of 12 - I do love how bold and brash Moo is. He’s truly a great character, such an utter outgoing sunshine puppy focused on his pursuit of his older boy. I'm charmed by his utter harmlessness. They gave us a sweet coming out scene, and an awesome supportive mom. Frankly GMMTV has a good track record with moms. (With a few noted exceptions, of course.)

That said, I do keep forgetting this is a GMMTV offering. It just doesn't FEEL GMMTV. Just me?

OMG Vampire (Thai Sun ????) ep 1 of 10 - Starts tomorrow, will report on sitch next week. LeeFrank are back - not unlike the undead. But how do we feel about it? Unsure given their track record.

Ongoing Series - Not Thai

At 25:00 in Akasaka AKA 25 Ji Akasaka de (Japan Thurs Gaga) ep 5 of 10 - I like it. I like our sulky 2nd lead. He’s pouty, adorable, brash, and adding some much-needed tension to this narrative. The blurring lines between show within a show is a lot of fun. Probably the best I've seen done in BL so far.

Living With Him AKA Kare no Iru Seikatsu (Japan Thurs Gaga) ep 6 of 10 - I like that we got backstory, but we also sort of already knew it. So this ep felt a bit like filler. They are wonderful when they’re on screen together but when they aren't it's a bit dull. I hope we just get them together for the next 4 eps. But this is Japan, so I doubt it.

Blossom Campus (Korea Thurs Gaga & iQIYI) ep 1 of 6 - The image resolution on this show (via Iqiyi ) is terrible. Meanwhile, awkward crush. Jock nerd pairing. Dorky. Maybe a bit too much awkward/dorky for me? I'm not sold on this one.

Meanwhile the ordering then not eating or drinking of food continues. Very upsetting.

Boys Be Brave (Korea Viki) eps 5-8fin - This show was just never sure what it wanted to be. Slacker sunshine KiSub moves in with nerd JinWoo, mostly because he knows JinWoo likes him but won't confess and that's never happened to him before. It reminded me of some earlier KBLs like Behind Cut, yes is had bones but not much flesh, so it only just hung together and progressed through not very much plot in a jerking rattling fashion like an animated skeleton. All the story and chemistry was with the side couple and none of the screen time. That just annoyed me. What did this BL want to BE? Who tf knows. I, for one, don’t care, and resolve to think no more on it. 6/10 

Blue Boys (Korea Sat YouTube) - This ended at 4 eps on a cliffhanger. Since this is a very small studio I don’t have a lot of faith in there being a part two. But they have bundled both this BL, and the GL, bingable chunks on YT. So if you want to binge it, it’s there. Just be aware that it ends on a cliffhanger.

My thoughts?

Promising reunion romances full of class and coming out struggles but I grade with what we got, not on expectations, and you know I HATE a cliffhanger. So yeah, it HAD promise but as of now it gets a 4/10 - fatally flawed. I reserve the right to change my mind if they amend for damages.

It's airing but...

You Made My Day (Thai YT) ep 1 of 5 - mini series staring the I Will Knock You couple Tar & Bom, started but I couldn't find it. I also didn't try very hard.

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing.

A Balloon's Landing (Taiwan movie) trailer - A frustrated Hong Kong writer, Tian Yu, meets a Taipei street gangster, Xiang (Fandy Fan from HIStory2: Crossing the Line), and the two of them embark on a journey to find the Bay of Vanishing Whales. Along the way, they discover unexpected twists and turns and close bonds, which brings out the message that "there is always someone like you in this world who is waiting for you. This released to cinemas in Taiwan, no word on international release.

In case you missed it

A really really thorough and fascinating article on 2 Moons 2 and what happened.

Next Week Looks Like This:

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

May Releases

VBL (Taiwan) is releasing 4 'Special Episode' epilogues to their 4 2023 shows every Friday this month on Gagaoolala, Viki & Viu. Not sure on search terms or how to find these. (Or, frankly, if we need them.)

5/10 – You Are Mine

5/17 – VIP Only

5/24 – Stay By My Side

5/31 – Anti Reset

5/25 The Time of Fever AKA Unintentional Love Story 2 (Korea movie) trailer - HoTae & DongHee are back but unfortunately not in a cinema near me. Side couple from Unintentional Love Story, same actors, same character names. I love them. I NEED TO SEE THIS.

5/28 My Biker 2 (Thai movie YT?) - trailer

5/30 Knock Knock Boys (Thai Thurs WeTV) - I'm hoping I can get it elsewhere since my WeTV account is inactive, but I do love Best and I'm interested in seeing him in a new pairing. That said, I'm not wild about Seng... so I won't be too cut up if I can't get hold of this. More here.

5/31 The Time of Huannan (Taiwan movie) - May not be BL

THIS WEEK’S BEST MOMENTS

I'm a sucker for this king of casual claiming. (Only Boo)

It me! (Wandee Goodday)

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are a pain.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @rocketturtle4 @blglplus @anythinggoesintheshire @everlightly @renafire @sunflower-positiiivity @mestizashinrin @bl-bam-beyond @small-dark-and-delicious

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

[olderthannetfic]

Ok serious question for anyone who's done D/D or has been into RP'ing. Let me ask the question first: How can you best break up a relationship in a D/D campaign without hurting the other's feelings too bad?

Story: I've been in this D/D group for some time now. DM asked if we wanted to be paired up with different NPC's or with each other, it could become plot relevant or it might not. Reason was because some of the players are newbies and seemed interested in playing a bit of romance or a "bond pact"* since the campaign has a romance plot run through it.

Two of the newbie players decided they'd play romance between their characters. Call them Alfi and Melli, just to have names.

Recently Melli mentioned being slightly uncomfortable with the idea of the romance between Alfi and her character, because Alfi kept making comments outside of the D/D game, using Melli's name and alluding to romance. Melli is now asking how to best tell Alfi she'd like to just not do the romance, and maybe either stay single, ask the DM for an NPC to romance, or something else, because it's a bit too much for her.

-Example: My love, Melli! / Me and Melli are going a adopt child. / Me and Melli are going to get married! -Note: The main problem is that Alfi isn't sticking to the D/D romance, and is bringing it into the real world and involving Melli as a person.

It was also noted that Alfi has been kinda playing outside the plot, or being completely uninvolved. Eg: Here's a puzzle do it. The rest of the group will be trying to solve the puzzle, while Alfi makes their character do nothing, or just completely leave the scene.

One infamous scene was us trying to catch a cultist from escaping so we could question them. Alfi basically stood right in the cultists path so could have helped grab the cultist quickly, instead Alfi had their character ignore the plot literally just leave the room. As in literally just... leave, and let the chase finish up between the rest of the party, before coming back like nothing happened, and then making weird comments about one of the NPC characters. Apparently the DM intended for it to be a less than 2 min run and grab, and instead we had to spend 15-20 min running after the cultist.

--

I'm not experienced here, but it sounds to me like the DM needs to talk to Alfi about a whole range of things. I'm sure that will be awkward, but not doing it will let this get worse.

Alfi is clearly not playing in the spirit of things. That could be due to social cluelessness. It could be an attempt to push boundaries and see if the group is easy to impose on. It could be backseat driving and disapproving of the DM's decisions. It could be "I'm bored when we aren't doing campaign things that are all about me". It could be genuine and unreciprocated interest in Melli. There could be plenty of different things going on.