#since this first part is just focusing on the background story - world building - and how we met

[kaidabakugou]

my brain needs a break from working on three different collab pieces so i decided to pick back up my hellhounds kiribaku fic but i’m horrible with titles so help me decide

a little context on the fic - it is set in a world where chthonic creatures roam freely on earth and your job is to rescue the ones used in illegal activities which is how you meet two hellhounds but first you must earn their trust before you can save them after years of mistreatment

[maboroshi-if]

SNote: Maboroshi is intended for 16+ audiences. Strong Violence and Swearing/Cursing will be in the IF. The warning list will be updated as we continue. Intro Post is still being pulled together, so if there are any questions, let me know!

Maboroshi is an Interactive Fiction Game based in the world of Naruto, however, all events within the story span during the end of the First Shinobi War and the beginning of the Second Shinobi War.

Long ago, many years before you were born, the countries of the world were entrenched in warfare for land. Mighty warlords and noblemen wished to expand their territory; however, blood would need to be given in exchange; Unfortunately, for the people of the land, the blood given as payment was not theirs. Instead, shinobi across the lands sacrificed their lives to fulfill the greedy lord’s wishes. Villages would soon be pillaged, children and women would perish from famine, and demonic creatures would rise from the darkest parts of the world to roam the earth. This would later be known as the Warring States Era. 

Twenty years later, all the infighting, battles, and wars would just...cease to exist. No one knows what caused the wars to stop; many believe that an inner deal was made between Daimyo across the land, while others believe something much more sinister is at play. Regardless, the ninja world seems to have finally settled into peace and harmony.

It has been some years since the Warring States Era ended. Villages across the land have been ushered into peace, and the village of Kirigakure is one of them. 

Having just graduated from Ninja Academy, you're now a Genin placed into your forever squad. Focused on growing stronger and building a name for yourself. You set your sights on becoming the strongest nin in your village, and who knows? Maybe you'll even become Mizukage someday. Before that happens, you'll need to pass the Chunin exam, a test that is said to have painted the very soil underneath your feet red.

Exam preparations are put on hold when rumors of war begin spilling across the peninsula. 

Tonari Yuma, a missing-nin from your village once accused of kidnapping and killing five children from all across the Land of Water, has resurfaced as a chieftain in the small village of Kirostache. 

Proclaiming himself to be the rightful Mizukage of the Land of Water. He wages war against Kirigakure and denounces your village as a town full of traitors united in dethroning the Daimyo by the usage of dark means. Your father calls it foolish. There is no way that the Water Daimyo would believe such a basis. 

Or so he hopes.

A conspiracy is brewing in the Land of Water, and you will soon learn that life is not as idealistic as you believed.

Fully customize your character!

I MEAN IT; fully customize them! Choose your 

Hairstyle and type

Hair color is locked to red, but you have the option to pick different shades of red, 

Skin color, 

How you appear to others, 

Eye color, 

Ninja outfit + civilian outfit

Name + Nickname

Gender, 

Genital choice + Body Shape will come in Part 2

Pronouns

Height

Weapon (you can’t use your chakra ALL the time)

Birth Season

Backgrounds are locked based on your chosen clan

More to come soon...

Choose one of three clans to be your paternal lineage

Tsuchigumo: Become Spidewo-(man)! or not. 

Yuki: Possess the Ice Release Kekkai Genkai

Shirogane: Puppet Masters who originate from the land of Wind

Become a master of either Taijutsu, Genjutsu, or Ninjutsu

Or master a combination of all three!

Romance 8 ROs

Three are available for Part 1

Four ROs will be introduced in Part II. The last is a secret RO

Pass the chunin exam!

Failing means your death, so make sure you are ready when you take it.

Complete a bunch of D-rank and C-rank missions; you're only a genin, after all.

Learn forbidden jutsu or stick to a path of purity (aka, do nothing fun!)

Meet some fan favorites as they were when they were alive!

Determine your fighting style: are you more brutal, or do you have finesse?

Or maybe you don't want to fight at all!

Become a Jinchuurki? It could happen 

Choose to become a medic-nin if it suits your fancy!

Izuna Uchiha (M): The Rival A boy shrouded in mystery, he is a constant reminder of your first C-rank mission and what went so terribly wrong. You’ve tried your hardest to make peace with him. But it feels impossible. He's a stranger in your tight-knit village and has found himself to be treated like an outsider. You would feel bad for him; if he weren’t so smug. Replacing one of your squadmates, he has shown an aptitude for warfare and finesse that makes you weary. How can a child who has grown up in a world of peace be so ruthless? Get to know him and you’ll unfortunately find out. 

 Izuna possesses an aptitude for Taijutsu, Ninjutsu, and Genjutsu, making himself a triforce. And it makes no sense to you, considering that you hardly see the boy practice! It will be interesting to see how he grows. If he makes it.

Chihiro Inoue (F): The Dreamer

One of your squadmates, she is a loud and outspoken girl with large dreams and big ambitions. Working to become the first female Mizukage, Chihiro often displays headstrongness and an overzealousness that can often get her into trouble. Luckily for her, fortune always seems to work in her favor.

Chihiro possess an extremely high aptitude for Taijutsu and Ninjutsu, calling herself a self-proclaimed weapons master. She gives as good as she gets, and has no problem getting a little dirty.

Tanui Hozuki (M or F): The Jokester

A jokester, they seem to have no desire to become a ninja; but with all that chakra they possess, they are given no choice. Apart of Squad Six, it makes no sense why you seem to run into them all the time, but you find their presence comforting.

You know nothing about their fighting style; only hearing whispers of the ‘wicked’ things that they have summoned from the adults in your village. 

Shinichi Hoshigaki (M): The Lost One/Secret RO

The second member of your original squad. Shinichi is the complete opposite of what you would expect from the Hoshigaki clan. Known for being fierce and aggressive, Shinichi is the exact opposite of the savage reputation that precedes them. Soft and friendly, Shinichi is a gentle soul and abhors the act of violence. But when push comes to shove, he will protect himself and his friends with the vengeance of Asura. Unfortunately, that wasn’t enough to save him. Or was it?

Shinichi possesses a high aptitude for the sword. Almost on par, if not matching Chihiro in strength and brutality. He favors the Water Release Jutsu; typical for someone coming from his clan. 

Akane Uzumaki: your mother is revered as the five-tailed beast's holy priestess/vessel. Once labeled as one of the strongest Kunoichi in your village, she has settled into domestic life and has left behind a life of adventure. She seems content; however, you catch the sorrowful expression on her face whenever she looks at you.

[[Chooseable Name]]: Your father is a distant cousin of the Water Daimyo, considered a war hero for his actions in a rebellion that lasted almost ten years. He has been given the highest spot in the village as "supporting Kage," only second to the Mizukage himself. 

Hanabi Sugawara: Your sensei; is not what you had expected in a teacher. Seeming to coddle your small team of three more than teaching you. You feel that she is hiding something, something that could put everyone in danger.

DEMO (Coming soon) || RO Appearances || Discord (Maybe)

[somecallmejohn]

would you prefer a wish 2 or a wish series?

Honestly, I’d love a Wish series that focuses on Asha helping the people of Rosas make their wishes come true. Like… just a simple episodic show where Asha has to figure out how to help with an overly complicated and specific wish or she grants a wish and it goes wrong or sumn and she and the teens have to solve the issue somehow. A pretty basic show about the wacky adventures of Rosa’s very own fairy godmother.

Idk if anyone remembers or has even seen it, but there was this show on Disney XD called 7D, that focused on the 7 dwarves before or after the Snow White story (it’s never clarified when I think) and each episode was about the 7D helping the Queen with some wacky situation she’s in, usually because of the show’s villainous couple (a witch and a wizard whose names I don’t remember cuz it’s been like 5+ years since I last watched it). So my ideal Wish series would be pretty much like 7D, but maybe with a little more.

Other stuff I’d add would be more focus on the Seven teens, like maybe each one could have one or two episodes focused on them, definitely some world building, some more info on Asha’s backstory(Rosas is relatively new so maybe she and her family moved there when her father first got sick in hopes of the sickness getting cured at the kingdom where wishes come true), some Amaya lore as well, I’d also personally add a romance subplot focused on Asha and Simon and maybe a subplot on Simon making his wish, becoming a noble knight, come true the right way and maybe him dealing with the guilt and trauma that he might have from betraying his friends and also being possessed/brainwashed, but honestly that’s just me being biased.

Despite the show being episodic for the most part, I wouldn’t mind if it evolved the characters more and even had like a continuous storyline in the background about Magnifico trying to escape the mirror which could either end up in his complete demise or even redemption, maybe they could flesh him out more and show more of his backstory. In the novelization it’s implied that he’s bitter towards Star because it showed up for Asha when she needed it about Saba’s wish, but not for him probably when he lost his family, I think it’d be interesting if they explored that too.

For the animation style I would have liked either something similar to the classic 2D Disney style or something like the Tangled the Series style(although not as stylized). Actually I would want this style for the show (Art by Griselda Sastrawinata-Lemay)

And if they are to keep the movie’s musical aspect they better ditch whoever did the movie’s soundtrack(even if I liked it) and bring those who worked on the Tangled the Series soundtrack.

[bodyalive]

Sarah Neville: Stepping into Rita Charon’s studio, in a Jazz Age-era building in Greenwich Village, I get a quick impression of a white-walled space bathed in the sunshine from two large windows that offer a sweeping view over the Lower Manhattan skyline. Everything in the room seems considered, from the Bach playing in the background to the paintings on the walls. One of them, “The Doctor”, is an idealised Victorian depiction of a devoted medic ministering to a child while anxious parents look on. It used to hang in Charon’s father’s office.

My meeting with Charon, founder of the “narrative medicine” movement that trains health professionals to use the power of storytelling in their work, is one I’ve been contemplating for 20 years. How, I’ve wondered, can such a humane approach fit into the time- and cash-constrained world of 21st-century healthcare? And who is this woman who, sometimes unsung, has done so much to change the way we think about the doctor-patient relationship?

Then, just as we sit down, I realise I’m setting out to tell the story of a practised assimilator of other people’s stories. At the core of her work, she says, is “what happens in the actual [moment of] two humans sitting, contacting one another with language, with the embodied self”. So we begin. Charon graduated from Harvard Medical School in 1978 and began practising general medicine. In the late 1980s, she started doctoral studies at Columbia University, focusing on Henry James and the role of literature in medicine. The work of the second half of her life has been to bring these two superficially oppositional realms together. She believes the emotional and imaginative insights contained in literature, art and music can transform the way healthcare workers treat patients and each other. Around 1990, she began teaching narrative medicine at Columbia and in 2009 launched a masters degree in the subject, the first of its kind. Since then, her approach has been deployed by healthcare practitioners across the US and abroad, from Greece to China. Formal evaluations have shown it improves participants’ capacity for reflection, in one study even reducing racial bias.

Charon tells me that for decades doctors were taught to conform to a model of ‘detached concern’ Her father, a doctor in Providence, Rhode Island, was an important influence. At one point, she goes to a filing cabinet containing all his medical records, which she acquired after he died. This part of his life had always been shut off to her; the close community in which they lived meant confidentiality was especially vital. But it turned out that his files combined the usual medical notations with far more personal references. It seemed to reflect a recognition that ailments could not be divorced from the wider context of their sufferers’ lives. Inspired, Charon began making more fulsome and impressionistic notes about her own patients.

The practised narratologist, she says, can pick up a lot in a short period, even at a time when there is pressure on doctors to keep appointments as brief as possible. “As you develop your skills of attention, you will notice things about your patients. You will be listening at a much higher pitch.” As doctors, the human body is, she says, “our material . . . I’m sitting here looking at you, noticing how you sit in the chair.” Emboldened, I ask what else she has picked up about me. She has spotted that my purple outer coat tones with the pink lining of my jacket: “You have taste because you’re not just helter-skelter putting the aqua with the olive green.” She has noticed my eyes: “Mostly the expression is filled with curiosity.” My sense of her, which deepens over the next three-and-a-half hours, is of a woman with a vast well of compassion, lit by a righteous fury about the inequities of US healthcare. “In Yiddish, we call it the Shanda, which is ‘the shame’. The shame of the system,” she says. “More and more clinicians . . . feel they’re being used by their employers. They know they’re doing shoddy work . . . They get tired of saying, ‘I’m sorry, I can only listen to one complaint per session. Bring that up the next time.’”

Truly listening to patients can be transformative, she says. “Patients on the whole really know what they need.” She recalls a young woman with poorly managed diabetes who arrived in her consulting room angry and frustrated. “I did my routine, which is get away from the computer, put my hands in my lap. Don’t write. Just say, ‘I’m going to be your doctor. Tell me what you think I should know.’” The woman looked as if she was going to cry but pulled herself together and glared. “You really want to know what I need? I need a new set of teeth.”

It was only then Charon noticed she’d had her hand covering her mouth as she talked. She had no upper teeth. Instead of fussing with the woman’s insulin levels, Charon arranged for her to be seen in the university’s dental clinic. “She shows up in a couple of months, and she is dazzling. She started a [catering] business in her house. Her [blood] sugars were better than they had been in a while. And she was much more active — she’s going to parties, she’s dancing! It was such a lesson to me. Why on earth would you start anywhere else but ‘Tell me where we should start’?”

I’m intrigued by the extent to which this approach requires an inversion of the traditional power relationship between doctor and patient. She tells me that for decades doctors were taught to conform to a model of “detached concern”. In fact, “engaged concern is going to get you farther than detached concern. Detachment looks an awful lot like coldness.” Instead, Charon believes in making space for the imagination. “The more you exert your own creativity, the better your medicine will be. It’s making leaps . . . I don’t like the word intuition because it sounds like magic. But the ability to see the known from the unknown — that’s what poetry does.”

In the early 2000s, Charon tried something new. After finishing a consultation and making notes like any doctor would, “I would turn the keyboard and the monitor around and say, ‘I know what I saw. But please finish the note.’ I would leave them alone for five minutes, and they wrote the damnedest things!” A college professor wrote “that she knew that she was a good teacher and that this really gave her pride.” The sentiment astonished Charon because it had not surfaced during their conversations, which had been dominated by the woman’s health woes and difficult relationship with her daughter. An idea occurs. As I am drawing our conversation to a close, I ask her to finish this interview. Is there anything else I should know? She confides that after she quit her practice in 2015 to concentrate on running her programme at Columbia, she felt an overwhelming sense of relief that she could hand over responsibility for her patients. (“Somebody else is going to worry about Lucy.”)

It was several weeks before she identified the gap that had opened up in her life: “I was terribly missing the chance to do random acts of kindness.” As a physician, the scope for moments of generosity is “drastic”, she says, whether ringing a patient’s sister to update her, helping put someone’s socks on after an examination or rubbing the feet of a terminally ill patient. There is something heartbreaking about the disproportionate gratitude these interventions elicit, she says. “I think their expectations for us are so low.”

Narrative medicine can, she suggests, endow clinicians with the ability to see an issue from multiple perspectives, a power she likens to “the compound eye of the fly”. It can help them to understand and value those they care for in all their uniqueness and complexity. “We ought to treat every patient as the deepest mystery,” she says.

Sarah Neville is the FT’s global health editor

[reneesbooks]

Damn I really feel you on that one Stephanie Meyer book with the parasitic aliens, like that premise was so interesting, why did she have to focus on the stupid love triangle?!

ok here’s the thing. i could fix her

edit: i'm putting this post under a cut bc it got SO LONG lmao. read at your own risk it's messy and obsessive and a bit unhinged

the movie got so close in some ways and fucking missed in so many others. on the one hand, ian in the movie was imo a lot more likeable than he was in the book. I’m attributing this to less dialogue written directly by stephanie meyer and the actor's face. on the other hand. jared was awful. movie did not fix him even a bit. only thing they fixed was the age gap but not even that was explicitly addressed in the movie. it was just assumed bc the actors looked similarly aged

I should mention at this point that I haven’t actually read the book in a few years but I read it so many times at age 13-14 that it was an intensely formative experience despite being a generally terrible book. I could still probably quote entire passages from memory. I’ve seen the movie definitely more than 50 times, including in theaters w my mom the week it came out. I watched it last week just for something to play in the background while I crocheted. I can and will 1000% quote along with the movie. fucking brain parasite book got me I guess

the book delves so deeply into the genuinely fascinating world building that tbh has influenced me to this day in terms of depth and creativity. that’s where the movie set itself up to fail bc the ONLY redeeming quality of the book was the world building. its perfect for a tv show so that there is time to explore what it’s like for Melanie to live among the souls instead of focusing exclusively on wanderers time among the humans.

ok the love triangle. here's the thing. it didn't have to be Like That. BUT. i remember my edition when i was younger (that has since disappeared but i have a new one on the way bc i miss my stupid parasite book) had a bonus chapter or smth from melanie's perspective after she wakes up without wanderer in her head for the first time and runs into ian and they both have this moment where they reach for each other and there is that moment of horror on ian's part when he realizes that she is not wanda and melanie being so used to wanda reaching for him that she doesn't realize that her body is doing it automatically. and it was just so interesting to think about how that duality affected them and i think the movie kind of tried to do that with the conversation that ian and wanda have on the cliffs but it just didn't make it happen in the right way. so like. having the love stories there are important for why wanda is even willing to learn to be human but the focus on them in the movie and its general failure to properly execute the most interesting parts of them are what kneecapped it imo.

anyway getting back to why despite that the love triangle is literally the least interesting part of this book. starting with the thing that drives me the most up the wall. the fact that the movie didn't include walt at all and glossed over wes's death makes me chew drywall bc that plotline made me SOB. wanda's time sitting at walt's bedside and comforting him through his illness is one of the things that really teaches her about the gentleness of humanity despite their perceived cruelty, and what makes much of the humans actually start to trust her. they see how she treats walt and realize that she has a huge heart and capacity for kindness. so when jared gets mad bc the seeker looking for her has caused problems, and she has the whole compound backing her up anyway, it actually has some weight to it. the movie flattened wanda and her relationships to the others so much it's so disappointing!! she feels grief in a way that's different from how she's ever experienced it before, despite knowing and understanding grief from her previous lives. she is devastated and forever changed by walt's death, and similarly by wes's. i don't remember exactly if he had a partner in the book but i think he did so wanda also had that experience of seeing his death devastate someone else so completely (and for her to be able to connect that to how jared feels about her being in melanie's body). so when she asks doc to let her die at the end, it's go so much more significance because she specifically asks to be buried WITH walt and wes!! she finds peace with death and understands it and wants to be with the people who taught her about grief and love and that just. i'm so unhinged about it. and it wasn't in the movie. chewing drywall.

this isn't like. a big thing. but it's forever a little disappointing to me that it wasn't in the movie either. bc the movie went a more "ethereal being made of light" direction for what the souls' actual bodies look like instead of the book's "segmented body with thin tendrils that attach to the brain of the host" description. this matters to me for a sad reason and a funny one. the sad reason is because when wanda sees the souls that the humans tried to cut out, she notes based on the vestigial feelers of one of the dead souls that it was a baby. horrible and sad detail that makes that scene 100 times worse. the funny reason is because since the humans know what the souls look like for the above sad reason, they refer to them as worms. which essentially leads to them calling ian a worm fucker and that's hilarious on a lot of levels the least of which being that it's true. like while melanie and jared and jamie go looking for a new body for wanda he literally doesn't care what it looks like and just sits holding her containment tank the entire time. worm fucker and proud of it good for him

i could write a whole other essay on the worldbuilding but i don't have my copy yet (and all the library copies are checked out who ARE y'all who else has read this book???) and i can't remember enough of it to really get into it. but wanderer's job was to be a teacher because she'd been to almost all the different planets (hence her name) so there were some glimpses of the fascinating universe of this world. the stories that she tells about the other planets?? unparalleled. wanderer tells this story about an ethical dilemma (among parasitic aliens lmao) because their host species on one planet burns another alive for its food source BUT they had recently discovered that the food source species was also sapient and intelligent so they were trying to figure out a way to handle the situation. that entire thing could be more interesting than the love triangle but instead it was like. a maximum of two pages about that planet and a one-off appearance from another soul that used to live there at the very end of the book. wanda tells the people at the compound about the underwater planet, and the one with the giant blind flying creatures that they call the Bats, and she mourns using the ritual from that species after the whole seeing the corpses incident. all of this gone completely to waste and for what!! for what stephanie!!!

another funny thing that i think might be better left in the book--when they take the seeker out in the book the human that was in there in the first place is so nasty and awful that everyone is lowkey mad at wanda for not just letting them kill her. top tier comedy ngl

ugh i also remember a scene where wanda is going on the long supply trips and sees a couple of souls with a human child who isn't occupied and is like. huh. that could be really indicative of a beautiful direction for humanity to go. could souls and humans live in peace in a real way? and then it's never really addressed again bc sexy feelings about two men oohhhh

so. is she fixable?

yes. i could fix her. a tv adaptation is what she needs. bc then there's actually time to delve into the thoughts and feelings of melanie and wanderer (and you could do that really well if you made a visualization of their shared mindspace--the book talks about how they put up walls against each other, and how they can block each other out or grab at control) as well as the worldbuilding and ethical questions. i have a whole three-season plan for fixing her so buckle up.

season one starts with wanderer waking up in melanie's body and the first half explores their time as a uni professor and the seeker's insistence on trying to find the human resistance through melanie's memories. this is where we really get a chance to see wanda's perspective--not because she's right, but because it's interesting. she is a huge pacifist and is horrified by violence, whereas melanie is used to using violence to get what she needs and tends to jump directly to it as a solution. so before they run off to the desert, when the seeker is still constantly checking up on her, as wanda gets more annoyed, melanie keeps suggesting that they kill her, and wanda has a harder and harder time holding her back. finally at the midpoint, wanda snaps and attacks the seeker, not because melanie made her do it, but because she's finally reaching that point in her journey towards humanity. and of course everybody blames it on melanie and they have to run because they're going to be separated.

then the second half of the season starts with the wandering through the desert. btw. book jeb my beloved. unhinged grandpa didn't get to be nearly as unhinged in the movie. the second half of the season is wanda acclimating to the human environment. i am of the opinion that romance should not happen until the second season at LEAST. obv melanie is pining for jared and wanda is dealing w that but it's not a romance. she doesn't love jared she's just comforting her dramatic roommate. maybe ian is starting to show interest in wanda but she hasn't noticed yet because she's still getting used to being human. season one ends with walt's death, since that's one of wanda's biggest turning points.

so season two opens with wanda understanding humanity a little better. and now she notices that ian likes her. melanie rightfully puts up a fuss about this (because it's her fucking body, steph meyer why did you almost make a convincing bodily autonomy argument and then fall short you almost had it--) and we can have that drama still while setting it up against the backdrop of wanda's journey to understanding humanity and ultimately becoming human herself. this is the first half of the season, and then there is the turning point--discovering that they've been trying to cut out the souls even as she lives among them. this is her major fracture with ian and is when she realizes that she can actually push melanie out of her head entirely and has to scramble to get her back. season midpoint cliffhanger is melanie being gone. and that finally brings jared around about her when he sees how hard she works to get melanie back and help jamie. so the second half of the season starts with healing jamie and how jared being ok with her changes the dynamic. now she's going out on raids, seeing how humanity and souls can live together, starting to come around to being in love with ian maybe, and generally settling into a comfortable existence. and this is when the seeker comes back into the picture at the end of season two, killing wes and being captured by the humans.

and season three. where it all comes together. the seeker represents the biggest obstacle to humanity and souls living in harmony--she is a mirror and a foil to wanda and melanie, two people too stubborn to let the other take over, unable to coexist. when she's captured by the humans, they want to kill her and her host, forcing wanda to come face-to-face with what she hasn't wanted to admit--she has to tell the humans how to remove a soul from a body. and in doing so she has to admit that she's been selfish and cruel by not telling them before. because by now they've more than proven that they can accept her kind under the right circumstances. so she's able to lay that out with the seeker and the first half of the season shows them starting to do it--to take souls out of humans and send them to different planets. the book does so many interesting things with this, showing how some people come back right away, some come back very slowly, some don't come back at all. there's a lot of material to work with (looking at you jodi and kyle and sunny) but eventually we get to the midpoint which is wanda asking doc to remove her and bury her with wes and walt. and then he does.

so the second half of the third season begins with melanie alone. and for the first time ever we don't hear from wanda at all. because she's in a cryotank and unable to have thoughts. so now we have what didn't get a chance to be really explored by the book--the aftermath of wanda's removal and the ethical debate of violating her wishes to put her in another body as well as the fact that when they do put her in one, it's one of the people who never woke up. it starts to get fuzzy here bc there's less original material to work with (and what is there is...not great the body they find for wanda is a 17 year old and ian is like 27 throwing up) and because there are so many directions to go after the book ends-- they find other human groups like they do in the book that also have a soul like her living among them, they try to work with the soul government to reach an agreement for peace, etc etc etc--and they're all so interesting! but the book ends because the love triangle has been resolved and it just doesn't address any of that. shaking steph by the shoulders and screaming

anyway the point of all of this is that this book and movie have been living rent free in my head for over a decade and i would simply like to make the good version of it that lives in my head real.

tldr i could fix her. steph meyer wya.

[dutchdread]

Hello Dutch! Do you think the loss of mystery and less impact on certain scenes in the narrative was caused by long-term fanservice?

Yes and no. I certainly think it was a factor, but I don't think it was the biggest one. If I had to guess, and since I am not a mind reader a guess is the best I can do, I think the biggest reason is the necessary change of the pacing of the game. In remake the developers made the (in my opinion) mistake of constantly showing Sephiroth, almost from the start of the game even. The decision to do this was based on three main factors I think. 1: "In the OG the first time you see Sephiroth is in Kalm, however, that is only a few hours into the game. If we did the same with the Remake we wouldn't see Sephiroth until game 2 and we can't have an entire FFVII game without Sephiroth." 2: "People already know Sephiroth, so the mystery is gone anyway, so it doesn't make sense to treat his appearance as one when everyone already knows him". 3: "People love Sephiroth so lets give them a bunch of Sephiroth!!!".

I personally think all of these are flawed. For one people are capable of influencing their mind state to resemble someone who is watching something for the first time. It's not exactly the same, but close enough, there is a reason people can watch the same thing over and over again and get similar responses on repeat viewings. When people love a story they are willing to watch things as though it were the first time. They can feel mystery and suspense even though they know the answer. I also think that there is enough happening in FFVII that you can keep the player occupied while playing a long game when it comes to mystery. If anything I think that the extra time to let mystery build could be used to enhance the experience, rather than making it feel drawn out. Especially in remake I think Shinra was MORE than good enough to qualify as the main villain for the story segment, and I think Sephiroth being only "a shadow on the edge of memory" for 90% of the game would make his unseen appearance in shinra HQ all the more terrifying. And ofcourse the reason people love Sephiroth is how effective he is as a villain, and part of that is the mystique. If you give people more Sephiroth you are actually giving them LESS Sephiroth, because Sephiroth isn't just the man, it's the idea, the presentation, and that presentation requires restraint in implementation.

My suspicion is that the mystery surrounding Clouds condition was approached very similarly. They figured they had the new mystery surrounding the "parallel worlds" as an overarching mystery and since people already know whats going on with Cloud that mystery could essentially be spoken about more openly. But this suffers from the same problems I mentioned above. I can totally watch FFVII as though I do not know the mystery, and experiencing said mystery was what I was looking forward to most. To me it's the best part of FFVII, and without it I barely even consider it a remake. And yes, I think fan-service did play a part. One of the things you hear most often when discussing the LTD is the retort that FFVII is not a romance story and that we're too focused on something that FFVII just isn't about, and while I disagree with that assessment, since romance ABSOLUTELY is a massive and crucial element to the story, I do agree that the romance is, for the most part, something that is in the background, it is the underlying backdrop that is required to understand the characters and their actions. But the focus is still on the actions themselves, as well as feelings and events that the romantic backdrop have caused, namely Clouds alter ego and accompanying mental problems. However, in rebirth the romance is NOT the backdrop, it's the focus of a large part of the game. Hell, the main play loop of the game revolves around you getting the party members to like you. And while it is true that this also involves, for instance, Barret and Nanaki, I think it's pretty clear that this entire core aspect of the game was implemented mostly as a way to explore romance in the game and satisfy fan desires. The question is, did that impact the mystery? And yes, I think it did. For one, everything related to Aerith and Zack in chapter 14 is PURE fan-service bait. The entire "can we save Aerith" plotline was fan-service bait from the start. And both these things, on account of both not being well handled, and overshadowing the actual mystery of FFVII, have a negative impact on how well rebirth is able to tell the story of the OG. Not only that, but SE tried to avoid burning bridges by not being clear with their story in regards to Aerith. I've heard people say that SE was wishy washy when it comes to choosing between Tifa and Aerith, they weren't, this game is about as pro-Cloti as it could be, Cloud and Tifa are a thing, if that weren't already obvious it's even more obvious in rebirth. No, the thing SE is being wishy washy about, is between Aerith and Aerith. Between the interpretation of Aerith loving Zack and simply using Cloud as a stand in, or Aerith as having "genuine" feelings. And the problem is that by trying to keep that a mystery they've made themselves incapable of properly examining either idea. There could have been deep meaningful scenes and conversations about how Aerith is still searching for the guy she lost. But they can't be that explicit without alienating fans, so they instead are vague, which results in a whole host of issues. But the most important issue for this question is that this approach creates an unfocused story, one that lacks clear direction. And a story without clear focus and direction will never be able to tell its mysteries in the most engaging and enthralling way. They want to show Zack, they want to discuss Zack, so they can't have Zack be a twist, but they also can't properly discuss Zack since that would be too explicit and so they half-ass it. They want to imply that Aerith is looking for Zack in Cloud, but they don't want to burn bridges, so they also want to hold open the possibility that Aerith actually likes Cloud for Cloud, and by doing all this nonsense you're creating a teenage love drama where you could have had a meaningful story about two people helping each other where the scenes could be directed to maximize the effectiveness of the mystery of Zack, rather than playing into a "I love him, I love him not" soap opera that got boring 27 years ago.

[felixcloud6288]

Fullmetal Alchemist Chapter 20

We finally meet the Elrics' teacher and we're getting the setup to the boys' background.

The brief flashback of Hohenheim has the Lab 5 mural on the wall.

Speaking of Hohenheim, Izumi mentioned meeting him when she and Sig last went to Central. They're in the background in the first page of chapter 14, so that means Ed and Al barely missed Hohenheim as well. I looked through that chapter and didn't find him in any crowd shots.

Sig rubbing Al's head was absolutely adorable.

Izumi has the flamel icon tattooed above her left breast so Ed and Al probably adopted the logo because of her tutelage.

This is the first time we get to see Ed's aesthetic taste. He likes horns and fangs and elaborate detail. We haven't gotten to see much of it yet since Ed hasn't used Alchemy for much other than turning his automail arm into a blade. We saw a light glimpse when he made a spear in chapter 1 and a door in chapter 2.

Despite being an Alchemist, Izumi insists one shouldn't rely on Alchemy for everything. She also understands that an Alchemist can't do everything. The chapter implies Izumi had also attempted human transmutation at some point as she knows why Ed can transmute by clapping his hands.

Back in chapter 6, Ed and Al talked about some of the things Izumi taught them about the flow of the world and here we get a bit more. When one dies, their body is used to nourish new life and their soul lives on in one's memories. In a sense, we are all part of a whole. There is an inevitability to all things and we should accept what cannot be stopped.

And we're finally going to get the full story of Ed and Al's background.

back

Spoiler Discussion

Izumi is an Alchemist who's truly learned from experience. She had a stillbirth leaving her unable to have kids. She blamed herself for her child's death when it was just something that happened.

So when her lessons include accepting the flow of the world and that death is part of that flow, she's speaking from experience. But beyond the surface idea, accepting one's death includes not blaming yourself for it. She blamed herself and thought she had to fix her mistake and so she tried to resurrect her child.

I'd argue the Truth always has some deeper intent when meting out punishment. Izumi is the least focused of the people who've seen the Truth so it's not easy to build any sort of theme about her, but I'd guess the Truth's intent with her was to demand she accept the inevitability of her own death so she can make the most of her life. That might be why she and Sig travel so much. They don't know when she'll just finally die because of her missing organs so they are making the most of their time together.

Interestingly, this also has had a positive effect on how she interacts with people. She wanted to be a mother, and she can't be a biological one, but she acts as a mother figure to others. She took Ed and Al in because they needed someone in their lives, and she is the person the children of Dublith come to for help.

So yeah, I think Izumi learned the lesson the Truth wanted her to learn.

[fluffmonger]

So.... Here's the thing. While I agree with the spirit of this post it's factually, just wrong, on multiple levels, and this isn't something that's hard to check either.

The original Baldur's Gate released in 1998, long after the height of the Satanic Panic, and before the Columbine Massacre, which shot off a new wave of Video Games are Evil moral panics. Mortal Kombat had released 6 years before, and Doom 5 years before. Demons, devils and dark themes in games weren't new or as shocking by then.

Adding to this, the game wasn't expected to sell well at all. BioWare was a tiny studio at that point, they'd only opened in 1995, which is when development began on Baldur's Gate. The team basically was learning how to develop and release games from scratch, while building an insanely complicated engine that could account for the sheer level of player choice inherently to DND. This was something that was *not* common in 1998, most games had one strict path through, or a handful of paths to choose from. Because of this, they deliberately chose to use more vanilla backgrounds and art to ease the process.

Additionally, 2e was a *very* different beast to 5e. Every option in BG is something that's permitted RAW in 2e, which was a very straightforward heroic fantasy focused story engine. Concepts of what was a hero were very clear cut, morally unambiguous. At the time, tieflings had only existed for ~4 years (and only one before development started). Other stuff just... Wasn't in the public consciousness. There wasn't any romance at all in the original, bc why would you play a fantasy hero game to simulate dating? Why would you go out of your way to diversify the world in text and such when it doesn't matter to the story, and the graphics are still rudimentary enough to allow imagination?

Which.... Of course that points to a lot of societal blind spots of the era and all of that. But at the end of the day, they also weren't expecting it to make any impact. So, there was nothing to stop them from making the game as wild as their imaginations allowed, and heck, they even got player feedback during the course of the relatively short development, which really endeared them to their player base. When it launched, it was *huge* overnight. If it hadn't been such a big hit, we'd never have gotten bg3. Part of the reason for the initial success *was* the DND license.

A year later, a different studio using the same engine released Planescape Torment, a crpg that has options for companions that include a tiefling, a succubus, a pyromaniac, a githerazi, an animated skull, a living suit of armor, and a little modron robot. Which is far far from the conservative naysaying and gloom...

Meanwhile, in the 25 years since that initial release, DND has had two edition updates that completely changed how the physical game is played, with more options and races and styles of play being included from the base game. Video games too, have been developing and changing, and culturally, socially a *lot* of shit has happened globally, so that the idea of a straightforward heroes good story seems... Trite at best. Video games have more and more expanded stories regularly, more choices, more options. Consoles have more power. The things that made the original Baldur's Gate so stunning back in the day, just aren't all that impressive on their own today. So, instead, the studio took the development time, and really dug in, and looked at how to make the game shine *story wise* instead of mechanically. Heck, even in Baldur's Gate 2, released 2 years after the first, the story gets more rich and complex, bc the studio wasn't also building an engine.

Times have changed. The culture is changing, people are changing, and getting better, more open and accepting all the time. DND lives, and thrives, and is being played in incredible new ways that reflect the new world, and will just keep getting better despite the.... Issues. Of the past that still haunt it.

But at the end of the day? Baldur's Gate 3 isn't some radical new take on how people play DND that's more true than Baldur's Gate 1... It's just an example of how the culture surrounding ttrpgs, and the way we engage them has changed in the last 25 years.

Jack Chick and the others wanted us to die... But Baldur's Gate as a franchise has always proved that we're here to stay, that progress and change can't be fought forever. People have always stood up for what's right, have always told interesting stories, and always fought against oppression and tyranny. Our present isn't magically just better than the past, all things have context

You know what, considering that DnD was bashed and rallied against for supposed promotion of demonology, homosexuality, violence, sex, witchcraft, etc. and this led to Baldur’s Gate 1 being pretty tame as far as story and characters go. I think it’s very fitting and poetic that Baldur’s Gate 3 is literally everything that the religious right in America fearmongered about in the 80s and 90s, and it’s absolutely great and compelling. If you showed an evangelical Christian from the 80s any character from Baldur’s Gate 3, they would combust into flames. To me, that’s why the game goes so hard in the thematic and stylistic directions it did because historically, all of these things got DnD bashed and censored. But now, nobody cares and people love it. Oh do times change.

Baldur’s Gate 3 is an victory lap for the DnD franchise because the culture war has moved so far past it that nobody has to walk on eggshells anymore to appease those types.

Jack Chick would implode at the mere existence of this game if he was alive today. And to me, that’s the beauty of Baldur’s Gate 3, it’s DnD saying “yeah we are everything you fearmongered about about and we gon sell a million plus copies while doing it” because in the end, DnD won the culture war against the people who wanted them gone.

[daffelreign]

Macbeth commentary. Because I’m bored. And judgemental. (Pt. 1)

Background information: Personally, the most I had heard about Macbeth prior to actually having to read it was a lot of students complaining about how hard it was to read and debating over Macbeth and his wife’s relationship. So the bar was pretty low to start.

Just like my thoughts, this has no structure. I hope it is comprehensible enough to be funny.

Anyways, (Act I: Welcome to the show)

Act I (scene 1):

I don’t know how I expected this to start, but witches were not it. Initial shock aside though, the only thing that stuck out to me was the familiars. I understand that people are supposed to watch the play performed on stage (so some things are meant to be implied), but I have no idea how or why the familiars were included. We’re never going to hear about them again, are we? Le sigh.

Act I (scene 2):

A lot of this scene is just background context and character introductions--- nothing very exciting. However, I have lost all faith in the modern text translation. The captain explaining Macbeth’s prowess on the battlefield is supposed to be important--- to showcase what kind of brutality Macbeth is capable of, and build onto his aforementioned status. But instead of that, my brain was entirely focused on the phrase “unseamed him from the nave to th’ chop”. I got the general premise--- big cut= big ouch--- but I was convinced that the navel was part of the forehead?? And I was trying really hard to wrap my head around why on EARTH Macbeth would cut someone from forehead to chin and then cut their head off to put on a steak.

By the time I figured out what the navel actually was, my attention was entirely spent for the scene. So all I can say is that the modern translation should’ve said ‘belly button’ for those of us less cultured in anatomy.

Act I (scene 3):

The witches gossiping is so not important to the plot, but so entertaining to me. They’re actively plotting revenge while idly waiting for Macbeth, and I love that for them. Anyways, enter: Macbeth! And Banquo too, I guess. The besties are not-so-silently judging the witches just before the witches’ rock their world. I think the witches got some satisfaction from that--- just a little. It’s the feminine urge for spite.

Speaking of spite, Macbeth is going to be king but Banquo will be happier? Banquo’s descendants will be king? Doesn’t that mean that either 1. Macbeth doesn’t have children, or 2. Macbeth doesn’t remain king (which in terms of literature, usually means killy killy- stabby stabby). That thought doesn’t seem to hit him, apparently. I’m sure that’ll have consequences.

More boys enter the chat! Here for plot convenience to tell Macbeth that the witches were right. Who would’ve guessed? It’s not like they disappeared into thin air like some abra cadabra witchy-woo. We should just brush them off--- totally. Except now, with Macbeth’s new title, the besties start reconsidering their disbelief. Not quite looking at the big picture yet, but don’t worry--- I’m starting the murder board for them.

Murder board (who I think is going to die): Banquo is the first on the board as an eventual victim once Macbeth realizes that Banquo’s kids are gonna be a problem (so better to snuff out the source, right?). He’s gonna destroy their friendship bracelets :(

Act I, (scene 4):

This is where things start to get interesting (from a plot standpoint, anyways. I didn’t find it all that interesting, but it is important to move the story along). Macbeth gets his second title from the king, and is very surprised that the prophecy the magical-non-human-witch-ladies told him is now coming true. Shocker. Macbeth has also started to think about how he could become king, and what stands in his way (cough cough, the newly appointed prince).

Which is why we have a murder board update!

Duncan, Malcom, Banquo

Duncan is an obvious kill, since Macbeth needs to get rid of him to be king. Malcolm is on the murder board for the same reason, as he is now set up to be the next king, and that’s kinda what Macbeth is supposed to be. Both would need to come before Banquo’s death since Banquo’s only leg up on Macbeth is a problem he can deal with at a later time. (Aka, the murder board is in chronological order for who would need to go first).

Act I, (scene 5):

The girlboss has arrived. Right off the bat I already love and hate Lady Macbeth (I hate what she’s up to, but love the way she’s characterized). She comes off as very elegant and kind, but very quickly turns out to be one of our main antagonists. I am very interested in how Macbeth and Lady Macbeth’s dynamic will play out, since the typical role of the wife is a supportive person who loves the main character and has a generally positive effect on them (and that is not what is happening here). I can’t see those two getting along for much longer, especially after her instant reaction to being told her husband might be king is ‘murder is a valid option’.

Which is why I return with the murder board.

Duncan, Malcom, Lady Macbeth, Banquo

I think Banquo will outlast her simply because he’s not attempting to manipulate Macbeth in any way, and I can’t see him trying to do that in the future. I think he’ll turn on Macbeth at some point because of his conflicting personality, but I think Macbeth will get sick of his wife before he does his best friend. Hopes and prayers for the girl boss.

Act I, (scene 6):

I love that this scene opens with Duncan and Banquo admiring the scenery, and then it instantly turns into “Oh hey, we’re invading your house. Aren’t you lucky?” as soon as Lady Macbeth shows up. I think that didn’t help Duncan’s cause any. It probably snuffed out what little sympathy she might’ve had for him.

Macbeth seems to be having an existential crisis, and has decided that murder isn’t a good idea (you know, like any rational person would). Unfortunately, this does not comply with what Lady Macbeth wants, and she badgers him with insults and strangely graphic imagery until he agrees to it.

He says that Lady Macbeth should only have male children, but by the way she described killing her own baby, I don’t think she should be allowed to have children at all. I wouldn’t even let her hold someone else's baby, just in case. Her homicidal tendencies seem to have no limits as long as she can justify it to herself.

Also, Macbeth is starting to acknowledge the murder board, hello???

[hillbillyhippiemusicreview]

WHERE IN THE HECK IS NORTH SPRINGS MUSIC FESTIVAL?

That’s a REALLY good question—and if you’re an avid music fan, it’s an even better question. From some of the biggest names in music to the up and comers you must know, North Springs Music Festival has it all. Trust us, you’ll want to know the answer by this October!

Situated in picturesque Whitleyville, Tennessee, the farm of Dustin Kennedy changes from pastures galore to a music haven for music fans far and wide when autumn rolls around. Amid cooling temps and falling leaves, the stage is set on (proverbial) fire as those who flock to “the little music festival that could” deep in the mountains fall deeply in love with the music and mission of NSMF. Held October 11th and 12th of this year, NSMF is THE destination for a family friendly festival that is focused on two things: quality tunes and FUN! Come along as we chat with the festival organizer about this upcoming event that is quickly becoming a coveted favorite among music festivals in the South—both by bands and fans alike. Interview begins below:

L: Hey there Dustin! Thanks for joining us today to discuss what you've got cookin’ down in Tennessee. We're beyond stoked to join you to take in the stellar lineup you've curated this October in Whitleyville—for newcomers like us, can you give us a little background on how NSMF began?

D: Thank you for having me--and I sure can! NSMF got kicked off in 2020 right during all the madness of the pandemic, but we were outside and tired of the madness. It [attendees] consisted of almost all local folks outside of our original out of state ticket buyer, Kristen Heflin. The county donated a wooden stage used at various county functions. It was the only time that one was used. The initial show was headlined by Rye Davis and Branden Martin. It rained like hell, but like Deana Carter would say, "we danced anyway." *laughs*

L: Love it! Looking back, I recall a lot of new festivals popping up in 2020 because it seemed like people were so ready to live again...I know we were! We kept the roads hot between Indiana and Alabama going to as many shows as we could. I'm a little sad to know we missed the inagural festival and the ones the past few years, but so excited to get to witness the magic this fall. What was your inspiration for the festival, aside from giving the proverbial finger to the craziness of 2020? Has running a successful music festival always been a dream of yours?

D: I went to a small living room show in Lexington in 2017 hosted by Jeff Cox. Fifty people sitting in one small room listening to Justin Wells & Jason Eady. That kinda got my wheels spinning. So in 2019, I rented our county fairgrounds event building and hosted four acoustic songwriter shows, one of which being Jason Eady & Courtney Patton. After the show, I just sorta blurted out to Jason that I wanted to one day host a music festival on my family's farm and if I ever did, I'd love for him to be a part of it. That was in March of 2019, and by October 2020, as small as that first NSMF was, it had become a reality.

L: Ol’ Jeff Cox—he's one of the good ones! Isn't it crazy how small this music world really is and how quickly an idea can grow? I love a good grassroots story...and it's amazing to see what you've accomplished in the seven years since speaking that dream into the universe and bringing it to life. Tell us, what is your mission/motto for NSMF; what do you hope to achieve with this festival in the present and future derivatives of it?

D: One of my best friends, Clint Fraley, recently said it best. He said " You've caused old friends to come together to have a good time. What better achievement in life than causing others to have fun and forget about their troubles?" I've said in other interviews that we don't all agree on religion, politics or sports, but music brings people together, and it's a beautiful thing. But also, country music has lost its way from where it was when we all grew up. Some people only see country music as the pop stuff they hear on their radio that we all spend way too much time hating on, myself included. Or they still listen to only the legends, which is fine, but I want to do my part to help people discover all these awesome independent acts who may be under their radar. Music is easier to find now more than ever. You just have to dig to find the stuff you won't ever see on CMT or your local country radio station. Listen to the cats over on WSKY, and you'll discover all the independent acts you want!

L: Preach, my friend! That is one of the reasons HHMR's founder Nathan began this review back in 2019, to bring focus to all the amazing indie artists in the Kentucky region. When I came aboard in 2020, I made it my mission to expand that coverage beyond Appalachia, because there is just so much good music out there and insanely talented artists that may never get the recognition they deserve without the efforts of independent journalism and venues/festivals! Speaking of all those good tunes, I’m curious—when you go to a show or a festival, are you more pumped to see the bands you're familiar with or catch the "no one knows who they are" up-and-comers?

D: If he lives to be 100 years old, I will never get tired of seeing Hank Williams Jr. live. He's the greatest of all time to me. I never got to see Waylon live which really disappoints me, so I always make it a point to cross the legends off the bucket list. But as far as new music, I work a pretty demanding full time job. I'm married with 3 kids and have some other hobbies, so it is hard to find time to discover new music. I depend heavily on others to suggest new stuff to me. They're out here doing God's work for us music lovers! I'm definitely not a "skip the opener" guy because those guys have been known to steal the show once or twice. The coolest act I ever got to see early on was in June 2012 when Shooter Jennings, who has done so much for independent music over the years, hosted a Waylon tribute show, and he introduced a cat named Sturgill Simpson to the crowd, one full year before High Top Mountain came out. I know others knew him already, but I certainly did not. Even better, that was my first time seeing Whitey Morgan and Justin Wells (one of my favorite people both professionally and personally now) that night as well. Also seeing Tyler Childers at Grimey's record store for under 100 people probably and later that night at The Basement East for $12. Little cheaper than his current arena tour! Always go to the show.

L: Yes! Always go to the show! Some of the acts on NSMF's lineup this year I have known for quite sometime whether personally or professionally, and I have thoroughly enjoyed both watching and experiencing their trajectories first hand over the past several years. I will never forget driving to Montgomery one night to see Taylor Hunnicutt open for Rod Gator at a little trailer bar/driving range in the middle of nowhere. It was a rainy evening which likely killed attendance, but man…it was magical. I was one of the only ones there for the show and when it was Rod's time to perform Taylor and I just danced to his whole set in the rain. Now look at her go! Playing NSMF and tons of festivals across the country this year. It's so fun to see these bands we love succeed! So, I purposely haven't mentioned the lineup yet because I want people to take in the whole poster at the end of this interview and be as amazed at the level of talent as we are, but I'd like to hear your music recommendations before we get into festival info. Who are you listening to these days, whether they're on the lineup or not, that you think people need to hear? And why?

D: The legends like Hank Jr, Waylon, Keith Whitley, George Jones…they'll always be in rotation. Same for Shooter, Ragweed, Jamey Johnson, Justin Wells and Chris Knight. My 3 favorite independent acts are Cody Jinks, Jason Eady and Cole Chaney, who is a badass that everybody needs to learning if they're sleeping [on him]. Them Dirty Roses have one of the best live shows going! Huge fan of Charles Wesley Godwin and 49 Winchester. Should not even have to mention Stapleton, Childers and Sturgill. I'm digging that new Zach Top album! As far as the festival goes, I'm excited to see Low Water Bridge Band, Ritch Henderson, Hunter Flynn, Sam Lowe, Waylon Hanel, The Comancheros, Parker Barrow and Bill Taylor and the Appalachian Heatherns all for the first time live. Then, I never do an interview where I won't mention the names of Addison Johnson, Rye Davis, Tony Logue, Tim Goodin and Wes Shipp. If you're not listening to any of those guys, stop reading this right now and change that! I'm really liking that new Taylor Hunnicutt album. Beyond fired up to have her and the boys at the festival this year. Being a long time fan of the Jennings Family, I’m very excited to have Whey headlining Friday night! Lastly, I think Ward Davis is a genius. He's one I've been wanting for the festival for quite some time so to have him as the 2024 headliner is very cool for me.

L: Well there you have it readers, a little sneak peak to the absolutely mindblowing lineup Dustin and his team have put together this year—but don't worry, there's even MORE fantastic artists to see down at the farm. I have a feeling it's going to be hard to top 2024's lineup, but at the same time I have a feeling you have more tricks up your sleeve, Dustin! Who do you hope to book for future NSMFs?

D: I'm a huge Courtney Patton fan. For whatever reason, we can never make NSMF work out. Same for Taylor Austin Dye and Mae Estes. They're in Nashville so I should've already done that. Some others will be retreads that maybe have only played once that I'd love to bring back. There are young acts like Jake Kohn and Blaine Bailey. I want to do some acoustic shows with songwriting geniuses like Billy Don Burns, Kendell Marvel and Josh Morningstar. I don't have huge corporate sponsors. I don't have tourism dollars. I'm funded strictly by local businesses who band together for me to ensure this show goes on and ticket buyers who keep coming back so I don't have the luxury to go get some of the names people ask for because musicians aren't cheap nor should they be! So I have to go into each year being very strategic. My eyes can get a little big, but you have to be realistic. I have to say that I have a great working relationship with Josh Green, who works for WME. I've had the pleasure of hosting some really cool acts that probably don't get done if Josh did not trust the passion and vision I laid on him each time we talk. He's one of the coolest dudes out there, and I'm very appreciative of him being willing to work with me each year!

L: Man, those would all be fantastic shows. I have no doubt you'll accomplish your end goal with NSMF because from the looks of it people are steadily flocking to your little slice of paradise each year! I imagine it will only get bigger as time goes by, but will still retain that small festival, everyone is family kind of feel. Now—onto the attendees, you mentioned your first out-of-town ticket buyer back in 2020 a bit ago. So far, what is the furthest state/location you've had someone travel from for the show? What is your guess for this year as far as ticket sales to this point?

D: We had a couple from Norway last year, which was very cool! This year we have folks coming from Canada and Germany. As far as inside the United States, I think the record is being set by Mary Suminski, coming all the way from Alaska! I'd be remised, however, if I did not mention the large groups of folks coming from Alabama, Indiana and the LARGE group known simply as "The Florida Tribe!" Then there is my man, Bruce Twyman, who I have been told needs to calm the F down! But everyone knows Bruce, so yeah...it's going to be one big family reunion out in the hayfield.

L: *Laughs* I've been there a time or two. It sounds like you've certainly created a safe haven for music lovers both near and far—and what a testament to the work you've done, as well as the passion for this underground, indie music scene! Before we dive into important festival deets, can you share with me your favorite festival memory from years past?

D: I'm a huge Cross Canadian Ragweed fan so Cody Canada & The Departed headlining last year was huge for me. Jason Eady headlining in 2022 was pretty special since he was the first person I ever mentioned the idea of this thing to. Cole Chaney has played twice, acoustic and full band so it was cool to see that progression. Lastly, Julie Roberts stole the show in 2021 when all the ladies in the crowd got to take their turns singing the classic "Break Down Here." Those all definitely stand out! But for me with each year, it's shaking the hands of the people who travel so far to come be a part of this festival. Taking a chance on it. But, like I always tell the musicians, if you ever come here, you're going to be playing to some of the most loyal fans you will ever have. They're gonna come to more shows, buy the merch. You won't regret it and some come back every year! Same to be said for ticket buyers. They had never heard of North Springs, but man, there is something special about this place. Us locals, it's "God's Country" to us. People who have been will agree. And on a selfish note, this farm has been in my family since the late 1800's so to bring something so cool to a farm and be fortunate enough to still have my dad, aunt and grandpa still living and being present at the festival on the farm they've grown up on, worked and hunted on, is pretty damn cool to me. Also having my wife and children being here making those memories, it's a great feeling!

L: We love our music family and a festival that supports that kinship is our kind of place. I know that's got to be mighty special to be adding to the NSMF family with each ticket sold while also honoring your ancestors on sacred ground. From listening to you describe it, it certainly sounds like the festival prides itself on having a good time while building true connections. So, what is the overall vibe of the festival? Party crowd, listening room, a mix of both—that sort of thing…basically what can newcomers expect to see and how should they plan to behave?

D: So every year, early in the day it tends to be a little more laid back, people lounging in their chairs. Usually, as the sun goes down and people get a little more liquid courage, they make their way to the front of the stage. But no, this is no listening room. I host acoustic shows throughout the year for that. I want this to be a party in the hay field. If anything, I wish everyone would get to the front of the stage earlier to show the same love to the acts all day long. People dancing and singing at that stage is what we are all about.

L: Funny you should say that, we at HHMR are definitely a front of the stage bunch! Our friends over at Raised Rowdy live and preach the phrase "front row or don't go" and it's one we try to honor every show—we feel it's the best way to experience the high of the music. Any pertinent details interested attendees should know prior to making their way North Springs to claim their front row spot?

D: Ticket prices are $50 each day or $90 for both days. Non-electric camping is $10 per person daily or $25 for the whole weekend if you come in Thursday night to set up. Generators are allowed. I do not sell alcohol, BUT you can bring your own coolers in for $5 or $10 depending on the cooler size. Just act like you've been in public before! There will be food and shopping vendors on site. Internet is spotty at best so bring as much cash as you can to help move all lines quicker. If you're driving in keep the GPS on the whole time until you pull in (Just ask Them Dirty Roses last year laughs. Dogs are allowed as long as they're on leashes. No showers on site, but Porta Potties will be on site. No fires directly on the grounds, but fire pits allowed if needed. People can begin setting up to camp on Thursday morning to be ready for the kick-off party in Gainesboro that night. Friday show will kick off tentatively at 3PM but subject to change. Saturday will likely will be a 1PM start time!

L: Oh, Them Dirty Roses. That seems to be a habit of theirs *laughs*. I'm giggling because one night when they played a show at Laurel Cove they were coming in late and if you've ever been to Pineville or Pine Mountain Resort State Park, you know just how mountainous it is and how easy it is to get lost in the curves. Service is spotty, I got there for the weekend first and my pal Andrew (TDR's guitarist) was frantically texting me trying to figure out where they were supposed to be—they took that big red van and trailer all over that big curvy road in a circle because they missed the turn! So readers, trust that GPS with your life going to Pineville AND North Springs! Okay, switching gears from funny stories and we could be here all day because I've got a ton of them—tell me a little about the kick-off show you mentioned. Sounds like a helluva good time!

D: Last year was only one day on the farm, and the kickoff party was At Roaring River Distillery in Gainesboro, 15 minutes away. Being such a small rural county, a lot of the local businesses did well with so many from out of state coming into the county. This year with us extending to 2 days on the farm, I was afraid a lot of the businesses might not get as much traffic so it was important to me to have a kickoff party so the square in Gainesboro is full once again. Chris Edwards from Mountain View Talent reached out and wanted to partner up. We discussed the options and quickly agreed on a lineup, headlined by Dallas Moore and Clint Park. Next was getting The Bull & Thistle Pub on board to host. The bar side sold out in one weekend while very few $10 dining side seats remain. This will be a little bit more of the listening room experience. Hopefully all the other businesses in town will see a spike like last year from the kickoff party!

L: Good grief, what a lineup! If potential attendees think the kickoff party is to die for, I wonder what they'll think when they see the full spectrum of talent for the festival. Minds will certainly be boggled! It's a work of heart and art between the hard work you put in to curate it and the fantastic poster Jimbo Valentine created to promote it. Well, that's all the time we have today, Dustin, thank you so much for joining us to give us an inside look at North Springs Music Festival! We can't wait to meet ya at the farm!

D: I appreciate your time and asking these questions to promote NSMF. Sorry for the long winded answers. *Laughs* I could talk music all day!

L: As could we! See you soon!

For more information on North Springs Music Festival, visit their website. Follow along for updates on their Facebook!

*All photos used with permission from NSMF website and Facebook.

[call-me-copycat]

Hiii Copycat! ^-^ I was hoping I could make a request? I was hoping for angst to fluff? With Aizawa who takes in/adopts a vigilante reader with an illusion quirk? And maybe she starts to develop a crush on Shinso too?? Thank you!! <3

Hello there! First of all, I saw your ask as soon as you sent it, but the reason I didn't respond was because my phone was (and still is) broken, but it's getting repaired, so I can respond now. Also I only have a phone, no computer or anything, so it's a bit hard, but I'm working on it! (o´Д`)=з

I'm very sorry for the wait, and I apologize again because there will still be more waiting until I finish the story, but I promise you it'll be worth the wait! I'm already nearing 14k words, and it's still going. I can't thank you enough for your patience, along with the fact that you're the first one to ever give me a request, so thank you very much! And feel free to request whenever you'd like, I really enjoy getting to write stories for people, and it makes my day, so you don't need to hesitate! (*´∇｀*)

Anyways, since I'm still working on the story, I originally wanted to post it all once it was done, but then I decided that since it might take awhile I'll post the first part and see what you think. I actually really like this idea because I was thinking something very similar to it around the time of your request. I hope you enjoy this bit, and please remember, I haven't forgotten, I'm just trying to work with a broken phone so it's a bit difficult, but it's advancing greatly and shouldn't be too long of a wait anymore. Thank you for your patience! ୧꒰*´꒳`*꒱૭✧

Escaping The Night (Part 1)

Welcome! - Introduction and Request rules (Important if you want me to write for you or if you want to know who I am)

▶ Characters: Shinso x Fem reader (although I used "they" in some areas) + Father/Mentor Aizawa

▶ Genre: Angst to Fluff

▶ Summary: Teenager Reader is a Vigilante that roams the streets with their friends, always on the lookout for crime and injustice. However, something disrupts Reader's world when they get themselves captured by the police. What will happen to them next?

▶ Warnings:

- Panic attack

- Reader got hit with a tranquilizer

- And an extra warning because I had to make a few characters just for this story (not necessarily OC's, just background characters. I know some people greatly dislike this so this is a warning, even though they're not that important).

- Also since this is part 1, you won't see Aizawa mainly until part 2, and Shinso is a bit further ahead. Another warning for those that don't like to get into a story and then have to wait

▶ Word Count: 3,201

➤ {This is Part 1}

➜ [Part 2]

➜ [Part 3]

➜ [Part 4]

➜ [Part 5]

➜ [Part 6]

➜ [Part 7]

➜ [Part 8] Coming Soon!

Tik...

Tik....

Tik...

The hands of your watch sounded endlessly as if it was mocking you, in a way, how it had infinite time while yours was limited.

You gritted your teeth and focused the best you could on the situation at hand. You and your partner were situated atop one of the city's numerous buildings, keeping an eye out for a particular sly little villain.

There were repeated reports of a variety of break-ins, ranging from small restaurants to higher bank robberies. At first, the people waited for the heroes to find this villain. But it seemed that they always had bigger fish to fry, always having excuses.

"The paperwork!"

"There's bigger issues at hand then some late night thief"

"We looked but didn't find anyone, sorry"

"Have you tried getting a better security system? I think that's the problem here"

It drove you mad. You didn't hate all heroes, not wanting to be like those anti-hero people who got upset everytime a hero wasn't there immediately whenever they ran into the smallest issue. But you did have a grudge.

You just didn't understand how the very heros that society put on a pedestal didn't do the simplest things that were expected of them sometimes. Too busy getting caught up in the paperwork and red tape.

Being a Hero once was something that was only ever dreamed of, something that one couldn't ever get close to. When quirks were introduced, this changed many mindsets, and completely flipped the many laws of reality that so many had believed. It was groundbreaking, revolutionary. Society advanced at faster speeds, and new technologies were pouring out.

But, unfortunately, what goes up, must come down.

On the beginning, the definition and laws of a hero were choppy, they didn't really have any boundaries due to the fact that no one had anything to go off of. But, as time progressed, more laws were put into place. A hero simply couldn't go and fight a villain and be done with. Now, they had to fill out reports, and sometimes the villains successfully won court cases over this.

The foundation of what it meant to be a hero was put into place. Or had it? It was still a very controversial topic, but the main idea was set, and that's all that mattered.

Now in current days, heroes still look like the same cape-wearing muscular doer's of justice, but many times, they're either doing it for the gold or the glory. Or they don't do anything at all, restricted and bound by paperwork and invisible strings. They know what's right, and they have the gift to help and save. But if they're told "no" then they follow.

That's why you preferred being a vigilante. You got to battle villains and help people, all the while avoiding the specificities. Yeah, you did have to run from the cops every now and then, sometimes a hero or two, but that just made it all the more interesting.

Plus, you got to be a part of a sort of underground society, one that was shielded from public eye and hidden away in the depths of existence.

So, here you were doing the heroes' jobs, again.

You looked to your partner, who was watching the entrance of a significant jewelry shop that hadn't been touched by any villains yet. You were currently using your illusion quirk to cover both of yourselves in a sheet of invisibility so you could better the possibility of your expected outcome.

Your quirk was powerful, and full of possibility. Though you were never fully nor formally trained, you still understood the limits of your quirk enough to use it exceptionally well. Long, intense training sessions over a span of time allowed you to gain a deeper insight into the inner depths of your quirk, to which you've come to the realization wasn't just any ordinary quirk, even going as far to call it overpowered at some points.

Your thinking was cut short when your partner signaled to you with a silent fist up from where you two were laying. You looked down and finally spotted the villain you were looking for. He didn't look too strong, nor did his face ring any bells, so that meant he was just some lowly villain who lucked out with a shifty quirk.

From the rooftop where you laid, you and your partner watched together to see what the man was going to do next. You noticed he looked like any other person walking around the town, short black hair with a black hoodie on over a pair of black jeans, and you realized that it was surely no accident he was dressed so camouflaged since it was late in the night.

Your eyes followed the man, curious as to how he was able to get in and out of robberies so quickly. The man walked up to the back door of the bank, and your eyes widened when you saw his body begin to shift and distort, slowly closing in until he was perfectly 2-dimensional, and looking at him made you think about all the cartoon characters that you watched when you were younger.

Upon this discovery, the plan was set in motion as you and your partner both hopped down the fire escape of the building and went in for a silent chase across the street, as the man had already slinked underneath the door. He had unlocked it for an easy exit, you thought possibly because he couldn't turn other objects flat like him.

Your partner, Omonifukai Hanawadashii (whom you called Fukai for short) whispered for you both to split up so this villain would think that it was only him, since you were better at stealth rather then combat like he was.

Fukai's quirk was one that seemed simple, but had proven to be incredibly strong when used right. He was able to control the density of different objects, including people or even specific parts of people. His specialty was increasing the density of his hand to the point to where it was easily able to crush anything under it, to which he normally used to knock villains out. A positive side of his quirk was he could still lift anything he used it on, but his drawbacks caused him to feel more pain than normal if hit or attacked.

Your agreed, and uncovered him from the blanket of your quirk, revealing him to reality just as he had once been before you put it on him.

Fukai ran in the direction of the villain as you ran in the opposite direction, going for a higher point so you could see the action and use your quirk properly.

Unfortunately the building wasn't as tall as it was wide, so you had to stick with crouching behind one of the jewelry counters, trying to stick as close to the wall as possible in order to remain unseen.

As luck would have it the villain seemed to have been thinking in a similar manner, as you watched Fukai chase after him as he slithered across the wall, a cheeky grin resting on his face as Fukai grew frustrated at his devious tricks of escape. The alarm started to blare as Fukai tripped one of the wires, cursing low to himself as the villain chuckled at the misfortune.

You studied the villain, watching as he glided across the walls and the floor at times, and you realized that he was able to move at an increased pace when aligned to a flat surface, in contrast to standing straight up as he did earlier. You came to the conclusion that he was a villain of cowardice, preferring to get in and out without a fight, and opting to use sly skills instead of risking a fight with a person of stronger status.

With this new information secured into place by your observations, you devised a plan in order to catch the villain and leave him be for the police.

You used your quirk and dug into his subconscious, a grin of your own growing on your face as you located your target, an almost cruel idea forming in your head at the expense of the villain. You had found his fear.

The villain dodged each of Fukai's attempts at landing a blow to him with such an ease it seemed as if he had all the time in the world. He was cocky in his own skills, having had been in worse scenarios and still escaped.

The villain looked directly at Fukai from where he was seated on one of the walls, almost laughing at the sight of some random teenage boy thinking he could play hero and catch the big bad villain.

Fukai noticed you signal to him with your hand up, closing and opening from the corner of his eye and understood that you were going to set off your quirk. Without this context, most people wouldn't understand that some of your illusions work directly in your opponents mind, meaning that your opponents would react to something surrounding people couldn't see. Fukai understood, and he backed off a bit in order to not disrupt the illusion.

The villain was about to mock Fukai a bit more before departing, but his smirk quickly fell at he noticed a large, hulking figure appear behind the kid.

His eyes widened and breathing became still as he made eye contact with the one and only symbol of peace, All Might himself.

Shocked to the point of motion becoming forgotten, the villain's thoughts suddenly started bouncing all around, before erratically trying to think of different plans, anything he could do to get away. He ran into a dead end with every single trick up his sleeve as he recalled seeing the massive hero defeat some of these biggest, baddest villains known to Japan into a pile of defeat. No, there was no solution to this problem.

Just as you both were about to take out the villain in his moment of vulnerability, everyone in the room jumped as a man wearing all black with a large scarf resting around his shoulders dropped from one of the pipes near the roof of the building. His absolute silence despite his sudden movements made you wonder how long he was there for.

Your illusion was ruined as the intruding man walked through it, unable to see it. The villain's frustration grew as he realized that he had been duped, but before he could do anything the man's scarf that had once been still suddenly jumped to life as it floated all around the dark-haired man's head for a second, before violently snapping around the villain, and your eyes grew as you saw the man's hair rise in the air in a very similar manner. Surreal. Before you knew it the villain was back to normal, and you quickly realized that this man was most likely a hero of sorts.

You saw Fukai looking over at you as he shuffled to the walls while the man was busy, but narrowly avoided being caught in the man's scarf as it aimed to close around him just as it has done to the villain moments ago.

You signaled for him to run, and he hesitated for a second, worry filling his eyes, but ultimately decided to listen and trust you as the scarf slithered around his ankle, to which he just barely managed to shake off.

You heard the man in the scarf curse as he watched your friend go, not wanting to risk letting the villain go in trade.

You toiled a bit, trying to tackle the problem that presented itself to you without introduction. A hero showing up so early wasn't part of the plan, nor was it expected considering most of the heroes' patrol routes were situated a slight distance away.

So, you wondered, who was this guy?

Your thinking was interrupted by the interrupter himself.

"I know you're there. Don't try to fool me into believing you're not."

You gasped a bit, not considering how he was able to know you were there when you were under your quirk. That is, until you held up your hand and realized that it was visible again, and right behind it was the man in the scarf, hair afloat and glowing red eyes situated directly on you.

He had the villain unconscious on the ground, tied in that scarf of his, which he held two parts of in his hands in order to keep it secure. But there was plenty of the scarf to go around. You realized this as you came face to face with the snake-like entrails of the scarf flickering and snapping at you, seeking to seize and bind you along the villain.

You were lucky your face was covered, because this man didn't seem to be as ignorant as some of the other heroes (especially sidekicks). You didn't speak as you dodged and ran, not wanting to reveal who you might be.

To your devastation, as soon as you opened the back doors from where you came you were met with police offers running in your direction from the front of the building. Panic built up in your chest as you didn't have much energy from continuously covering yourself in your quirk, along with having it disrupted twice.

You still pushed yourself to at least run, deciding that you could easily lose them in the plentiful twists and turns that filled the little seaside town.

You understood that if you ran in the direction of your place that you and your things were were currently at, then you would most likely give it away to the police and you'd have to deal with them being on your back as you looked for a new place to stay. But you didn't want to outright run in the opposite direction in case they thought of your plan, so you settled on running in a sort of zig zag, not wanting them to be able to predict your path of travel.

You turned randomly at each turn you ran into, landing in alleyways, on top of dumpsters, underneath large trees heavy with leaves, and eventually up and over fences of backyards as you found yourself in some sort of comfortable little neighborhood nestled in the small town.

Your panic shrunk a bit as you realized that you had thrown off most of the police officers that were chasing you, having been diminished to a small few stragglers that refused to let up.

Sweat poured down your face and blotted your underarms and neck, making you grimace in discomfort as you also had to deal with the sharp pangs that made their way up your legs and back.

You awkwardly sprinted as a little dog chased you across a small yard, and hopped another fence, looking to find somewhere to turn or hide, just anything to get them off your back.

You used your quirk with scarcity as you looked over your back to the best of your ability and hit 3 of the remaining 5 officers with an illusion of yourself tripping over the fence to which they turned to. The other two tried yelling at them that it was a trick, but decided their attempts would be pointless as they kept up the chase, not faltering.

You frowned, squinting as you felt an impending migraine starting to make its way into your head. You knew that you were overexerting yourself, and that the migraine would only serve as a distraction if it grew, but you were so very close, you didn't have any choice but to keep going.

You hopped the next fence without as much strength as you originally did, knowing that it only drained your energy faster having to constantly boost yourself up and down rather than running and turning. You wouldn't be able to keep it up for long.

You remembered that there was a cluster of empty houses that weren't sold yet somewhere nearby, so you ran in turn, changing your course of action by jumping out into the street from one of the backyards you were in, missing the pair of curious violet eyes watching you from a window in one of the houses.

You ran down the street into a more disheveled neighborhood that connected to the newer one you were just in, looking over to see only one officer remained. You didn't remember when the other one disappeared, but you excused it because you couldn't constantly look over your back when running.

You sharply turned a corner to get out of the sight of the remaining officer, heading to the end of the neighborhood where the empty houses were before throwing yourself through the open window of the first one you saw without thought, you just needed a place of hiding.

You breathed a heavy sigh as you propped yourself down for a second, having been through way too much action than you signed up for. You knew the police would probably think you ran out back towards the desolate fields that laid behind the houses.

To them, the houses were legally listed as private property*, so they wouldn't think about you bursting into someone's home without warning. You knew they were empty though from your days of scavenging for goods to survive, in fact you learned a lot about your surroundings because of that, and that's how you were able to evade the police for such a long time.

You held your breath as you heard him pass by, but once again fate seemed to be voting for your downfall, as you heard crunching of footsteps walk around the house instead of right past, and you started to grasp at what they were doing.

As soon as the backdoor flew open was the exact moment you recognized just where you were, and what house you had chosen.

You started to hyperventilate, air whooshing in and out of your lungs as the room around you started to spin.

Home...

You were home...

But this wasn't home...

It was a house once filled with horrors, pain and agony, which now reeked of death. A familiar smell you knew all too well.

Your legs moved indistinctly, as though they had minds of their own and yet still understood your internal logic.

Heart racing, eyes watering, you refused to let yourself get caught, especially in the very place you gained your new life after the death of your old one.

Mind numb, and filled with only thoughts of 'escape', you ran to the doors, but remembered they were glued shut, along with the windows. You had done that once so very long ago.

The remaining open window was shut and blocked by the police officer that was chasing you earlier, who was now the one cornering you right by it. You could see a look of compassion and understanding in his eyes, but you saw it as a look of pity instead in your moment of frustration.

You could hear not one, not two, but three voices surrounding you, and anyone that was surrounding you blurred into one giant mass as your fear started to overwhelm you, overtaking your very mind and filling every crevice it could find.

In a moment of desperation you tried using your quirk, trying to create the worst, cruelest entity that you could create, but nothing came out instead.

Your eyes started to warm as you felt tears of frustration and fear building up, but you didn't cry, you refused to. Your emotions started to slow down as you saw one of the police officer aiming what looked like a gun at you, finger on trigger. At that moment you gained slight control of your thoughts, your mind painfully screaming at you to get out of there, to protect your pride and dignity.

In your panicked state you turned and tried slamming the window to escape, but all you attempts were futile as it wasn't going to budge. You heard the trigger being pulled and braced yourself, but all you felt was a little stab on your arm. You looked down and realized that it was a tranquilizer dart that had lodged itself into your upper arm.

Your mind started to fill with fog and the edges of your vision started to slowly fill in as you banged your hand on the window in one last attempt of escape.

And then your world went dark.

A/N:

Alright, so that was part 1! I do hope that it was good enough for you, I'm trying to learn from past mistakes when writing, and I feel as though I'm in improving little by little everyday.

Don't worry, if writing the story takes too long then I'll post the parts one by one instead of waiting until it's all finished. This is my first time writing something so long, but I enjoy it!ദി ᷇ᵕ ᷆ )♡

Any feedback or constructive criticism is completely allowed, and if you see any mistakes then please notify me so I can fix them.

If you wish to send in a request as well, once again, please don't hesitate!

I'll be working on this as much as I can, but my progress is slowed until my phone gets completely fixed (which it will soon-hopefully anyways). I appreciate your patience! (๑´ㅂ`๑)

For the first *, that basically means that I have a note about whatever is near it. The note for that was I have absolutely no clue how buying or selling houses and property works, I just made that up on the spot. I know there's a 99% chance it's wrong, so just please go with it, I'm sorry for any annoyance.

This story is ok for reposts or other uses such as those YouTube channels that read out fanfics and things like that. My only ask is that you tell me beforehand for everything but the reposts. I just like to see other people interact with things I make, it makes me happy (⁠^⁠^⁠).

Thank you so much for reading this complete mess, I know I wrote a lot of things that aren't the story, and once again I'm sorry about that.

I hope you have a lovely day!

ヾ(>᎑<`๑)ﾖｼﾖｼｨ

年2022/月12/日01

[kaylinalexanderbooks]

I think what OP was saying was more about having fun with writing and putting in inconsequential details, not trying to detract from the plot itself.

I used the background characters as an example because they don't do anything but serve as props for my characters' world. A school is not just seven friends - I sprinkled in acquaintances so I could have my characters talk to someone in a school setting that wasn't a main character if that wasn't needed. If a main character wasn't needed for a scene but there's no reason for them to be there, I can just say "oh I was going to Julian's party!" Julian may have only been mentioned once, but I already established him as a part of the world.

So I get what you're saying - yeah obviously stuff needs to go sometimes but that's mainly if it actively gets in the way of the story you're trying to tell. Be ready to sacrifice stuff, sure. I used to have chapters where I was like "and this is how these two characters met!!" but realized "wow that doesn't matter at all!" and I cut the scenes. But the thing is, most of the fun details I was referring to were not in the first draft because I don't think of those details in the first draft! I think of them after, since they help fill out the world. On the first draft I'm just focused on getting it out. Details? What details?

The aforementioned Julian is a background character that I use to establish my character Lexi as a very personable person, an extravert with a lot of acquaintances. I shout out a few random names who do nothing but help establish Lexi's character. I even used him to have fun like OP said and included a joke where Lexi had his schedule memorized. Who is this kid? Who knows and who cares - Lexi has his schedule memorized because that's who she is. Contrast that to Maddie's first chapter where only one extra person is mentioned and Maddie barely likes talking to her.

The background characters in the school don't add anything to the plot, but they help establish the world the characters live in.

To loop back to OP saying just have fun - I have a scene where a bunch of characters have a debate about grilled cheese. It's fun - I love it. But it's too long. Like you said, I have to be ready to cut it. I know it's going to have to be cut.

However...I'm only going to cut it down. I'm not eliminating it entirely. The scene establishes a lot of characters' personalities, which I definitely need. But I don't need to do them all at once like I was trying to do.

I've decided to cut a handful of characters from the scene. But those little inconsequential details I've added about the characters - their acquaintances, hobbies, normal world, etc now all come into play. I can write several characters out of the scene with ease because I know what's going on in their lives.

I only haven't done this yet cause I'm focusing on other things (world building).

Even Lexi's acquaintances sprinkled in the school ended up becoming important for her arc of the second book. I never would have come up with that if it hadn't been for "LOL Lexi has this random guy's schedule memorized"

It's a tricky balance. You're right, some things will inevitably detract from the plot and have to be cut. But I don't think having fun with details is only reserved for the first draft.

A piece of writing advice I've always fucking hated is "only add things that further the plot." Because no. Add stuff for fun. Give your mom a cameo. Have these characters be in love because. And yes, have characters die because. There doesn't have to be a reason for everything. The universe doesn't give a reason for everything. Why should you? And if you never add stuff for fun, you're never going to have fun.

[dulcewrites]

Flew too Close to the Sun (Pt 2)

Pairing: austin!elvis x black fem oc (Faye)

Content: It’s been two weeks since shows at The International Hotel have began. During a party, Faye comforts a distraught Elvis (wc: 2103)

Warnings: mentions of drug/alcohol abuse, illusions to elvis having attachment issues

A/N: I just want to thank everyone who supported the first part of this series. The first part was focusing on the girls, so now we are getting into more Faye/Elvis stuff as we go on. But it is important to me to build a realistic world around the sisters; their bond is important to the story towards the end. It will be a bit of a slow burn toxic messiness for faye and elvis. I keep going back and forth on how naive I want to make faye. Anyway you guys have any questions about the fic or the sisters please send them in. Also don’t forget to reblog, like and follow 🫶🏽. And let me know if you want to be tagged in other parts

FTCTTS pt 1

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Faye has missed this. The sweet monotony of shows and constant performing; it’s the only thing she missed about the chitlin circuit. Constantly being around like minded, artistic people. It also doesn’t hurt having the best seat in the house seeing Elvis do what he does best. It’s hard not to get caught up in the star power that is Elvis Presley. The way he sings, the way dresses, the way he moves; it’s hard not to get caught up in him and his orbit. An orbit of talent, stardom, and coolness.

Faye appreciates her gospel background, and everything her and her sisters have accomplished but something about the world they have been welcomed into is so… tempting. Maybe it’s the difference in costumes, the venue, the type of people that come to see Elvis, or the nature of the songs they help sing. Everything is so different, and Faye loves it. 

And she can see the attitude of her sisters changing. Dawn even agreed to come to the party that the rest of the Memphis Mafia are throwing to celebrate 3 years at The International Hotel. A party that would include not only the rest of the band, singers, crew, and staff but also big names in the music and movie industry. These are the connections that Faye thinks they need to make their transition into different music sounds. A modern disco sound with the flare of Motown soul. 

“Do they have anything that’s not so… in your face?” Dawn says plucking through the dresses they could wear for the party. Each one being more shimmering and sparkly than the last.

Faye laughs as she eyes the clothes, especially a silver spaghetti strap number. It’s perfect. They all spend time trying on different dresses till they finally choose which ones they want to wear for the evening.

“I was talking to Bill, from horns, and he heard from Mike who does the lights who day drinks with Richard, and he said that Priscilla is not gonna be at the party,” Shirley says absentmindedly while checking out a pair of heels.

“No way! Did he tell you why?”

“I knew something was going on with them!”

Faye and Dawn say at the same, and Shirley laughs at their different perspectives on the matter. The girls were born and raised in the church; gossip is in their blood. It’s not always polite or lady like but they just can’t help it.

“He didn’t say why, but I think they’re trouble in paradise. Like they’re done for good,” Shirley says lowly as if there’s others in the room with them.

“Makes sense. Rockstars probably make awful husbands,” Dawn shrugs. “Imagine having to see your husband tongue kiss his fans or having women write how they want to have his children.”

Yeah, that’s not… great. But if it’s all true, Faye can’t help but feel bad for everyone involved. That’s still his wife and the mother of his child.

“Maybe they just need a break from each other,” Faye says softly. “Absence makes the heart grow fonder.”

“Or a large alimony check.”

Faye rolls her eyes at Dawn’s cynicism. How she has that attitude but is with someone like her boyfriend, Julian, is still shocking to Faye. But then again, maybe they cancel each other out. Julian: overly attentive, romantic, hopeless romantic (it might be the reason why him and Faye are so close). Dawn: aloof, the ultimate realist.

“I wonder who he’ll be with next,” Shirley wonders out loud.

The room gets a bit silent as they all mull over what Shirley just said. Maybe she’ll be an actress, or a dancer, or maybe some random woman he meets at a diner. 

“Well, god help her whoever she is,” Dawn says simply.

The subject of Elvis’s love life gets dropped after that, but Faye’s mind still wonders back to relationships. Maybe it’s her lack of luck in the dating the department that makes her curious or makes her crave what her sisters have. 

The party is in full swing by the time the girls get there. The high-rise restaurant in the hotel had been renovated to a dimly lit, tightly packed club atmosphere. The only light coming from the bar area and the technicolor lights bouncing off the walls. 

“I’m gonna go get a drink,” Faye raises her voice over the pumping music.

“Remember no dark liquor!”

Faye nods pretending to care about Shirley’s warning. So, she got a little tipsy one time after drinking a couple scotch on the rocks. She was 21; she can hold her liquor better now. She slides up to the bar, asking the bartender for an old fashion. One can’t hurt. 

“I expected you to be more of a martini girl,” a familiar voice sounds off next to her.

Jerry. His eyes are covered by aviators and his smile is easy. He’s always been kind to the girls. If any of them had a question, they knew they could go to him.

“And what made you think that?” Fays asks with a laugh.

“I don’t know. Something dainty and sweet would just suit you.”

He’s flirting, and Faye is sure of it. She tries to think of something flirty back but Dawn’s voice rings in her head.

We are gonna do this right

Despite how fond her sisters are of Jerry; she can only imagine the stern talks she’ll get if she starts anything with anyone in that inner circle. Then again, she could just not tell them.

“I’ll keep that in mind,” Faye gives his shoulder a squeeze before taking her drink and going back to the dancefloor where the girls are. She can feel Jerry’s eyes on her back while she walks away. 

She dances with her sisters and members of the band for what feels like forever. A part of her forgets why this party was even thrown till she realizes she hasn’t seen Elvis all night. They play his music and they’re giant, and honestly obnoxious pictures of his performances from his time at the hotel. But she’s yet to see him in the flesh. The dancefloor is insanely hot, and despite the fun she’s having, Faye needs air. She pushes through the crowd to get to the crowd to get to the outside patio of the restaurant. 

Faye is a little shocked when she sees the back of Elvis. She waits for him to notice that she’s walked out there but, he’s sitting at one of the tables, focused on the bright lights of Vegas. The slumped shoulders and almost empty bottle of whiskey give away he is not necessarily in a partying mood. She debates in her head if she should see if he’s ok or just turn back around and pretend she never saw him. Faye thinks about what she would want someone to do for her and walks towards the table. 

“You throw a mean party,” Faye says softly 

Elvis only turns slightly to her, eyes rimmed red, and he gives her a halfhearted smile. She sits down in one of the chairs next to him. They sit in silence for a moment before he breaks it after finishing off the bottle of liquor.

“The party isn’t for me,” he says lowly. “It’s never for me. It’s all about the show.”

Faye’s mind goes to the booze. She wonders if he knows that people outside his circle know about his “habits”. He must know people see the doctor and the yes men that follow him around. A part of her feels guilty; she thinks the treatment is wrong but here she is benefiting from it; the shows, the clothes, the meeting new people. 

“No one actually cares about me,” he continues, bitterness in his voice. 

She knows who that is pointed towards. What Shirley heard must’ve been true because Priscilla is a no show and has been for months. Faye really can’t blame her. She knows better than to bring Priscilla up by name, so she tries a different approach.

“People do care about you, even the ones you think don’t right know,” Faye reassures him, reaching out to grab the hand that’s resting of the table. “Your family, friends, and fans all care about you. Everyone who gets to work with you cares. I care about you.” 

She squeezes his hand; Elvis’s eyes travel from where their hands are to Faye’s eyes. There’s an earnestness in her big doe eyes that he hasn’t seen in a long time, and earnestness he wants to get a bit lost in. He squeezes her hand back in response, and they share a smile. 

The moment is interrupted when the door open and a head of shaggy hair appears. Jerry’s eyes go from the empty bottle to their hands joined together and raises an eyebrow. Faye removes her hand feeling a bit embarrassed by how it probably looks.

“EP, I think they’re want you to say something soon. Just a quick thank you,” Jerry says in a tone completely different from the one she received at the bar.

Elvis sighs before getting up and straightening out his suitcoat; it is the first time that Faye is noticing he doesn’t have a shirt or tie underneath it. Her eyes go from his chest to his eyes that are still on her.

“Thank you for the talk sweetheart,” he says voice much warmer than before, giving her a wink. And just like that Elvis the charmer is back, and Faye can’t help but be thoroughly charmed. 

She watches him slide past Jerry before standing herself. She prays in her head Jerry doesn’t say anything and lets her get back to her sisters. Anxiety spikes a bit when he doesn’t.

“You ok,” the question is seemingly short and to the point, but it could mean so many things. 

Is she ok in general, is she ok with comforting someone who is technically her boss, are they ok? Faye just nods hoping the conversation would be dropped. Jerry tilts his head, his eyes searching for something in hers.

“I don’t want overstep my boundaries,” Jerry starts slowly.

“So don’t,” Faye says back quickly.

He sighs and looks down at his shoes before look back up. He stands square in front of Faye’s way to get back to the party.

“I just want you to be careful is all,” he lowers his voice. “Elvis is in a fragile state right now, and I know how he gets once he… takes a liking to someone.”

Faye can tell he is trying to choose his words wisely, and she knows how to read between the lines. Elvis and Jerry have known each other for a long time, and they’re good friends. But Jerry has also been there for just as many bad times as good. 

“Jerry, I’m fine, and nothing is going on between him and I,” Faye says. “Now let’s go back inside please.”

Jerry doesn’t budge for a moment, as if he’s gonna say something in rebuttal but the sound of cheers breaks the tension. He gives once last fleeting look to her before shaking his head wordlessly and open the door to let Faye in. The walk to Elvis on the mic thanking the owner of the International, as well as couple other bigwigs. Elvis’s eyes wonder across the room till they meet Faye’s 

“I want to especially thank all people who help me put on a great show,” his says, smile soft as his eyes don’t leave Faye’s. “I have very special people behind me.”

A part of Faye knows he’s talking about the talk they just had, but she tries to push that aside for the rest of the night. He was down on his luck and just needed a friend. Nothing more, nothing less… Right? Being reconnected with her sisters helps take her mind off both chats she had that night. That with the help of a couple more old fashions, and few shots.  

The greatly regrets that choice the next morning she has a pounding headache. Pounding that matched the vigorous knocking on the door that wakes her up. She opens the door to someone recognizes in Elvis’s inner circle. She raises an eyebrow at the giant, and beautiful bouquet of flowers in his hands. She asks him if he has the wrong room, and he says he was supposed to take them directly to Faye Williams room 809.

Her throat tightens a bit when she reads the note. 

A special woman deserves special flowers. EP

Jerry’s words pop back into her head. Be careful. 

[weaselbeaselpants]

Since I am familiar with the 2012-2016 comic, lemme just say that having too many characters wasn't the problem with Zoophobia. Viv's right in that it was a problem- but it's not THE problem. It's a problem that I think crops up in a lot of her works. Viv has really solid ideas for premises and characters, I think. I really liked the Helluva Boss pilot, Timber is good, I liked parts of Hazbin Hotel and the first chapter/set up into Zoophobia and it's world (Safe Haven) are honestly pretty good. Obviously made by and for an indulgent writer wanting to showcase a bunch of things they like? Yes but that's not a flaw in itself- also that describes half of like, EVERYONE ON TUMBLR's concepts, don't lie to me.

If you've never read the 2012 comic, Zoophobia's 'main' character was a human named Cameron who has actual zoophobia along with just an understandable reaction to being trapped in a mythical world of animals and monsters. She's skittish and unlucky and she gets a job at Phoenix University basically being a counseler and shrink to the students. This is a GREAT set up because what ZP was about was a chance for Viv to show off her childhood-made OCs (or just any OC she wanted to feature/talk about). It'd ostensibly would make a great 'OC of the Week' comic; Cameron is supposed to just be the school counselor but like in Undertale or maybe Amphibia, she gets dragged waaay too deep into the individual character's worlds and conflicts, which would be how she AND US, get to know them-

-yeah, the comic wasn't like that. Despite giving Cameron a perfect fantasy-inclined excuse to follow the student characters around because they were the actual focus, instead the comic just completely shifted focus onto Zill, Kayla and Damien in chapter 3 apart from Cameron. She should have been the one to see Damien's lie and be aware of the true cause of Zill and Kayla's scism. Maybe she didn't/couldn't do anything on her own because as established, she's scared of the animal people and monsters. She should have been with Damien's chaparones, looking for him in his chapter. I like Cameron (and so could the audience) not because she's interesting but because she's a surrogate for us. It's such an easy enough fix, and with a bit better focusing on the right characters with their arcs (Zill and Kayla in their arc; Jack in his; just Damien in his arc; just Addison in his), maybe cut some otherwise needless side characters and fill the background cast of one arc with what would have been the supporting from another- that would be interesting.

Viv has this 'thing' where she really likes to pitch a series/story with an ensemble cast everytime all the time. That wouldn't be so bad if she definitely had a role for the characters to play in the eventual story...but she doesn't. She has characters she really likes playing with and writing about and then other characters being horribly sidelined, which is a problem when the sideline-victim-in-question is an establishing character or the MAIN character even...and it really ends up effecting every character because then, when it comes to the mains Viv wants to write about- they feel way to overbloated or underdeveloped compared to how they were hyped up. Rewatched the pilot and this is still my problem with Alastor and Angel!

Alastor is supposed to be mysterious. He should be mysterious. Build up some tension with this obviously menacing smily-deer man by never showing you what he really can do in the end and ABSOLUTELY NO 'exposition sequence' from Vaggie essentially spoiling why he's just so important. Whether it is a stand alone story, the pilot to a longer series, or the intro to a longer series- it takes away so much of the bite from Al in favor of what the writers gushing over him.

Angel, meanwhile, is all but the real face of Hazbin, not Charlie. He's Viv's favorite character, not her. Within the pilot he's supposed to be her gunnea pig, but I was so underwhelmed by him.

Because they had to make him a jerk who doesn't care about the hotel at all, they gave him functionally nothing to do or care about at all- and that made him feel like complete filler. I keep asking again and again WHY Angel of all characters wasn't the main focal character, and/or why he wasn't the one to warn Charlie about Alastor. It really does feel like, after Alastor enters the story, Angel has to just go because his planet needs him and then he dies on the way to his home planet. This is YOUR BOY, Viv! Give your boy the spotlight he deserves and that you clearly want for him.

To me, Viv is really good at pitching a concept, but when it comes to actually executing the idea her works turn into fan fiction of themselves. From what I've heard, this is the 'problem' with Helluva Boss, that it's now "the Stolitz show" because Viv and her crew clearly lost themselves writing about them that they forgot about the main premise: low-level demons holding a service for sinners and causing mayhem wherever they go because of it. Either the show should have pitched itself with just Blitzo, Moxxie, and Stolas being the real power over the group which would have set up Stolas being such a key figure in the story, ax Millie and Loona from the main cover image or the main lineup- OR, you focus on all four of the supposed main characters first and leave the Stolas and possibly Stolitz stuff for later.

Tl;dr: I soooo wish Viv would make the basic script bible and "plot" of the series and then hand the actual writing of her stuff off to someone else. I'm sorry if I'm 'lame' in the eyes of the antis and stuff, but I actually really like Brandon's specific outlandish humor and I enjoy the Hazbin cast when they're in fanfics enough.....but I just feel like Viv herself is well outside her comfort zone trying to write lore or anything resembling a longer story.

[emarasmoak]

Rings Of Power Writer Gennifer Hutchison's Challenges, Temptations, And Favorite Scenes In The Season Finale

Very insightful interview. Highly recommended.

The first season of "The Lord of the Rings: The Rings of Power" is only the first part of a five-season story arc that amounted to nearly half a decade of work (including pandemic delays).

The first season spent a lot of time establishing the show's massive cast and sprawling setting. It provided background, set stories in motion, and ended with some major reveals.

Gennifer Hutchison, one of the primary creative talents behind the series, doubles as one of the show's executive producers and primary writers, spearheaded writing the script for both the second and eighth episodes and was able to share some fascinating insights into many of the creative decisions that went into the final moments of Season 1.

Read more for the biggest narrative challenges, her favorite scenes, the potential of visiting Rhûn and some insight into where the other Rings of Power are hiding.

Writing challenges and the potential of more Rhûn in season 2

Question: You have executive producer credits throughout the first season, but you wrote Episodes 2 and 8, correct?

Answer: Yes. I wrote Episode 2, and I co-wrote Episode 8 with Patrick and JD.

Q: As one of the primary writers on that episode, how much creative input did you have on the finale compared to the rest of the season?

A: Just as much. We all built the season together. The writer's room worked together to build the story for the entire season, and then writing the finale, myself, Patrick, and JD had a hand in every scene and every beat in that episode.

Q: What was the biggest challenge with trying to tie up so many storylines at once and then set the stage for Season 2 at the same time?

A: The biggest challenge is figuring out where to stop the scene. You want to answer a question, but you want to ask another one. It was figuring out the best way to build those climaxes of our two big reveals but still leave it so it's like, "Now what happens?" and making sure that was coming through, where you feel a satisfying character arc, but you also are intrigued to [wonder] what comes next.

Q: To zero in on one of those scenarios, in particular, we have a still-undefined Wizard who is heading east by the end of this episode. Assuming we can't get any identification specifics still, can you at least give us a little bit of the background on the decision to officially name-drop Rhûn and then include the eastern regions of Middle-earth in the show?

A: That's a world that exists in the Legendarium, and we know a little bit about. We don't really get to see as much in the primary text. When you're doing a show that you have that space, it's such a temptation to go into that world and get the opportunity to expand it since it's there. We love the idea of exploring it.

Where are the other Rings of Power?

Q: Shifting gears to Eregion — we all know the Ring Verse, which lists 19 Rings of Power and One Ring to rule them all. In the source material, the Three Elven Rings are made last and without Sauron present, like you had in the episode, but only after the Nine Rings for Mortal Men and the Seven Rings for the Dwarf-lords are completed. Where are those Rings in the show?

A: We have seen the rings that have been created, so there may be a little bit of a shift in the sequencing of the Rings, but yes, the Rings that you have seen [are] the Rings that have been made.

Q: Is this the way it's been from the beginning, as far as fitting the making of the Rings into the finale itself? Was it always planned to make the Three Rings at the end here and then other Rings later on?

A: Yes. This season was about tracking the Elves and their story of dealing with the fading and Galadriel's journey with Halbrand. Coming to that ending for this season was always, at least very early on, the plan because [we're] focusing on that story and making sure we're servicing that one for this season.

Q: A slightly nitty-gritty question: How much time in the story takes place once they get to Eregion, because Elrond requests three more months, and then it's hard to tell how quickly the Rings actually end up being made. Is that actually known or not?

A: We don't really say exactly what it is, but you can assume that it is within that timeframe that he asks for it. It's certainly not ... I don't think it's an immediate thing that's happening.

Q: That's important, right? They do have that spring deadline that has been established and so days versus months matter at this point, right?

A: Yes.

Addressing Annatar rights and potential Sauron/Galadriel romantic tension

Q: Do you know in Season 2 if there is going to be any kind of a time jump or is this going to pick right up where you left off?

A: I can't really speak to that, but I will say we've set some stories in motion that we definitely want to keep following, so whatever's going to best serve that is the direction we're going to go.

Q: In the source material, Sauron masquerades — a lot of people are aware of this — as the immortal being Annatar. That's the name everyone was looking for when he makes the Rings. Did you guys have permission to use that name and chose not to use it, or is it outside of the range of material that Patrick McKay and JD Payne have expressed you have full permission to use?

A: That's a Patrick and JD question. I don't know the specifics. It may be about the rights issue, but they are way better suited to answer specifically that question.

Q: With the Sauron and Galadriel sequence that took place in her mind, I guess you'd say, is there a personal or romantic motivation behind Sauron's desire to have Galadriel as his queen or is it purely... We know he's a deceiver. Is it a power and control situation?

A: People can bring their own reads into that scene, especially with a character like Sauron. He's a little slippery. So much of what we were building to was less intentionally a romantic thing and more a meeting of the minds — this idea of this team together challenges each other to be their best in a lot of ways. She inspires him, and he helps push her. That was what we were thinking about [while] writing that scene — him selling this idea of "Together, nothing could stop us." That was the intention behind it. I love people being able to look into a scene and bring what they bring into it and get their own reads from it.

Q: Yeah, that's very Tolkienian, right? He liked to have other people interpret as well. It wasn't all allegorical or preset.

A: Yes.

Season 2 storylines and Hutchison's favorite part of the finale

Q: Moving forward, what storyline are you the most excited to work on in Season 2?

A: Oh my gosh, I love every world. Now that we've uncloaked Sauron ... What's he going to do? That's so exciting. Also, I'm so invested in Nori and the Stranger and seeing where they go, now that she's finally gotten what she wants. She wants an adventure. Now, she's on an adventure. What does that look like for her?

Q: Did you have a favorite part of this finale in particular that you really enjoyed writing?

A: I loved writing the Galadrial, Halbrand, and Sauron confrontation, and the Nori goodbye scene was also one that was so close to my heart when I was writing it.

[codthefishgod]

I absolutely agree with this tbh, I genuinely think Fenn is someone who, once he has his mind set on something, needs field experience to have it changed, like you said. That's probably why even though Oskar was around Fenn for much longer than Tobias and was encouraging the same ideas, Tobias is the only one who actually had any real impact on Fenn's beliefs, because Tobias IS a Vaylinian. He's physical proof that, as much as Fenn wants to, CAN'T be ignored.

And as for the battlefield thing... Yeah. Unfortunately I can really see it happening. Lennon has confirmed that Faroff will not be a tragedy, so I know Tobias and Fenn won't die, but a hell of a lot can happen without you dying, you know. Stuff that's arguably worse.

I do want there to be a Condessa arc, but I'd argue that them being separated and there being a time period where we see them each individually on their own paths after leaving the wall would be far more impactful. And the story has been set up in a way that makes that a plausible outcome as well, considering Fenn has been fighting to get sent out to the battlefield and Tobias' service is almost up. They're both in perfect positions to be snatched out of their posts at the wall.

Why do I say this would be more impactful? Well, first off, it really drives home the fact that literally everything is against them. The current arc, because it's mostly focused on trust and developing a proper relationship between Fenn and Tobias, is mostly pushing that into the background, in the sense that it's not currently a DIRECT threat (this is NOT a criticism, by the way! If their relationship isn't cultivated first they'll fall apart immediately under any sort of stress, this is an extremely important part of their plotline and it needs to happen before actual direct conflict does!)

If they were actually separated and thrown back into their roles for their countries, they and we as the audience would be very harshly reminded that their time at the wall... Doesn't actually change anything. Not yet, at least. They still have their duties to their countries. They can't even mention their knowledge of each other to anyone, let alone see that person that they'd started to genuinely care about over their time together.

PLUS! It would give us a lot more insight into their individual cultures and how their governments work, which of course WORLD BUILDING I live for this shit. We might be introduced to characters that clearly are meant to have relevance in the plot but haven't been properly introduced yet (Edward, Tobi's mom, the general, etc.) and learn more about their pasts and exactly what influenced them to be the way they are. More Fenn internal conflict struggling with what he saw through his interactions with Tobias vs. what he's being told, maybe he even starts to see the holes in their lies?

AND ALSO, I think Tobias is WAY more optimistic than we give him credit for. I genuinely think he still hasn't given up on his family. I believe everything he's done (flunking out of military school, etc.) was to try and show his family that he's NOT cut out for the future they keep trying to force them into. And... I think that he thinks that his service at the wall will be the end of it. Like he just had to do SOMETHING and now they'll let him do what he wants with his life. But... Obviously, it most likely won't end up that way. (ALSO IMAGINE IF THEY FORCE TOBIAS TO CUT HIS HAIR I MEAN WE KNOW IT'S ILLEGAL RIGHT- HOLY SHIT THAT WOULD BE SUCH A DEPRESSING AND IMPACTFUL SCENE OF REALISATION THAT THEY'LL NEVER LET HIM LEAD HIS OWN LIFE)

I mean just imagine the desperation. Especially since they've both gotten a taste of what a real healthy relationship is that they never got before. Fenn beginning to see the lies in Sona's propaganda and being on the battlefield struggling because when he sees the Vaylinians all he can think of is TOBIAS AND HOW HE WAS A REAL HUMAN BEING WITH A LIFE AND FEELINGS AND WHY WOULDN'T ANY OF THEM BE THE SAME WAY... And Tobias remembering how Fenn treated him and how he didn't see the things he made as worthless and how he really trusted him and didn't see him as incompetent... And comparing that to how his family is treating him and realising this ISN'T normal and NOT something he deserves but... Just not being able to do anything about it. IT WOULD BE SO HEART WRENCHING BUT SUCH A GREAT MOMENT OF CHARACTER DEVELOPMENT THAT WOULD REALLY DRIVE THEIR DISILLUSIONMENT ARCS HOME...

Dear god I did NOT realise how much I had to say about that. Enjoy this essay 💀

I'm about to pop in the shower but I just wanted to say rq that sadly I think the only (or at least the most effective) way Fenn can really change his mindset on things is by having field experience, stuff like, idk, meeting Tobi for example. He only starts opening up to new ideas once he spends time with an actual vaylinian and realizes he's just a normal human person just like him and not the image of a vaylinian Sona exposed him to his whole life.

Ans I say "sadly" because this means the way he might have to learn that fighting on the battlefield isn't the amazing, overly-glorified idea he has about it in head is by... you know. Actually being there.