#something about those original characters is so compelling to me

[naydralikessoup]

it's happened a couple times before and it makes me a little sad that sometimes i've gone into things convinced they would be bad (like say the live action speed racer movie), and discovering that they're actually very well executed and enjoyable, and extremely sincere. it makes me sad that i find myself thinking and speaking about them sardonically at first, when i claim to be very pro-silliness and authenticity. like, i know there's no need, and no real reason to be mean, so why do i still do it?

maybe because the sincerity feels so raw? not as in like dark or even that deep, really, but if i accept it into my heart as something i really love, it shows very clearly something about some part of me i'm maybe too shy to show off otherwise. if i tout myself as an unironic fan of these silly, sincere things, i find myself feeling like i've exposed the silly, sincere, vulnerable part of me that drew me to them. but i'll never be able to live up to the ideal of the eternal search for self knowledge if i can't look these things in the eye; i've gotta learn how to reach into the irony and take hold of the real treasure within: cringe.

[hadesknockedupintheunderworld]

"But why would Sonic still be friends with them why wouldn’t he denounce them or treat them like the villains they are? Why won't he realize they're just evil?"

First of all, has it perhaps occured to you that Sonic loves/cares for them no matter what they do and doesn't want to hurt them if he doesn't have to? Has it perhaps occurred to you that he doesn't see them like irredeemable villains and it's not because he's a dumb dumb idiot?

Second of all, haha keep talking and I'm gonna unroll my character analysis essay. "They're just evil" yeah that's rich. Bet you thought the ending of the series was about "redeeming" them too, huh?

[chewytoothmeats]

That’s Director Wadsworth to you.

Another doodle that got away from me a little, this time featuring Annabelle Wadsworth of @thebrightsessions ! I got to and finished the AM Archives after taking a break when I finished the original series, and it's bazonkers seeing the jump in quality with all that excellent Foley and music supporting the already-stellar vocal performances of the cast.

I always adored Wadsworth as a villain (Alex Marshall-Brown, you are so good at making this woman ooze into a scene) but the AM Archives surprised me by striking the difficult balance of making her truly three-dimensional without revising anything about her, or retroactively positioning her as correct.

Notes on why I made some choices after the cut, if that kind of thing interests you!

I'm a big fan of makeup and costuming informing character and compositions in art, and in this case I wanted to make something that is, I think, fun and reflective of Wadsworth's character while not actually resembling how I believe she'd actually dress and present herself in canon. (This is not a woman who I think would actually wear purple eyeliner and a berry lip to work.)

That said, I did choose the costuming for a reason! The makeup is an obvious nod to purple-as-royalty, and the choice of a dark lip specifically is there to make her look severe, precise, and in-control. Her outfit is of course largely a black void of negative space, but it's also largely inspired by the cuts and iconography of Chanel; black and white, "conservative" (by modern standards) cuts, tweed, and camellias. It's the kind of look that signifies outrageous wealth and power without being ostentatious; Wadsworth really cultivates a kind of soft-spoken, smug affect of self-assured superiority that I think is a good fit for Chanel, lol.

In the background we've got the specter of Helen, her waves attempting to intersect again with the frequencies of Wadsworth's heart and failing; they are lost to each other now, forever. During initial sketches Helen was presented in a much more overtly sinister light, but I nixed it in favor of keeping her more as an indistinct figure on the periphery of Ellie's perception. I think the central compelling tragedy of these two shitty (affectionate) women is the degree to which they were twisted and made cruel by the immensity of institutional violence, and so framing Helen more creepily would sort of... defeat that?

I don't know, I didn't actually spend very much time on this - as you can probably tell - but I quite liked making it! Composition is currently my weakest point as an artist imo, and I think this one's composition is actually pretty solid.

(Those in the know clocked this right away, I'm sure, but I tried to work in a way inspired by Dragon Age Inquisition's tarot cards since they're famously VERY tightly, beautifully composed.)

(sidebar, on top of a sidebar, rest assured that I did see the very kind tags left by Lauren on the last piece of bright sessions fanart I did and it made my day)

[olderthannetfic]

I have really mixed feelings about the small proportion of F/F fiction (original or fanfic), because yeah sure, people have their desires, they should write what they want, I get it. It all works out when I hear it from person to person. But somehow the logic only ever applies in one direction? "There are more male protagonists because men only care about male characters! Women also mostly care about male characters, because that's the majority of characters they get!" And then somehow we also yet kvetch when men write female characters (because it's incorrectly or something, nevermind if women are writing male characters correctly). Why don't we expect gay men to feel compelled only by femslash for the same reasons (but gender swapped) as the lesbian slashers/fujoshi? All of those very rational justifications are applied selectively, "for me for not for thee," and it all only leads to "idk I just don't wanna write femslash", for Reasons. Do we get to call them microaggressions yet?

--

No, you don't get to call other people's fantasy life a microaggression.

That is indeed "for me but not for thee" in the sense that you get to want what you want but other people aren't supposed to follow their id.

Do you also police gay men who spend too much time on drag and obsessing over female divas? That's an actual real world behavior that's somewhat equivalent. It frequently goes unchallenged, at least by progressives, because men are allowed to do whatever they want with chick stuff, while women are "stealing" if they dare to stray into dude stuff.

(God, I've seen so much more policing of drag kings being ~problematic~ for acting out stereotypical gender than policing of drag queens for the same. It's nuts!)

Fujoshi are often queer, but it's absurd to think we're mostly lesbians. We tend to be bi or asexual women with gender stuff going on, though there is a mix of everybody, including lesbians. There are also a lot of AFAB non-women who get lumped in with us. On the rare occasions I find a man willing to admit to being a similar demographic, he usually does like gender play in his hobbies and entertainment. It's just that men face even more pressure than women do to fit into tidy categories. Bi women get told we're whores. Bi men are told they don't exist.

Yes, I know plenty of lesbians who write more m/m than f/f, but in the big picture of all of AO3 or all of fanfic or all of media, they aren't the demographic driving these numbers. They're vastly outnumbered by the bi women, the asexual women, and the straight and gnc women.

The men we should be looking at as an equivalent aren't cis gay men but bicurious soy boys and the like.

Do most of us fujoshi object to equivalent men doing an equivalent thing? I've seen it sometimes, and I agree it's hypocritical. I'd like us to afford men the same ability to play and take on identities in their art. I remember enjoying Ranma fandom back in the day and reading quite a lot of f/f that was probably by men. It had some of that same sense of distance and fantasy that I so enjoy in m/m aimed at fujoshi. (I do consume some by-cis-gay, for-cis-gay content, both m/m and f/f, but it's often too literal and too bound up in specific named identities for my taste.)

On average, the people I see complaining most about men producing f/f material are the same people who think that because I have a clit, I should center my life around women exclusively. In other words, people spouting radfem ideology, perhaps on purpose or perhaps without realizing.

I do agree that some of the ways of expressing a lack of desire to write femslash can get pretty douchey. I want us to move away from some of the less accurate ones like "There are no compelling female characters" because of this.

But the reason for all these jerkass explanations is that women and people perceived as women who like m/m are constantly asked to explain ourselves. These aren't usually microaggressions: they're openly hostile. People get defensive and try to answer with important-sounding reasons about identity and pain because society at large won't accept "I like this" as the true explanation.

Pleasure is never enough of a reason for a woman to do something.

[finishwhatyoustarted-event]

Finish What You Started 2024 - Event Rules

[ID copied from alt: Event Rules on a blue background. ⬒ No new projects ◨ Any medium and any fandom welcome ⬓ NSFW inclusive, warnings must be tagged ◧ Tag #FinishWhatYouStarted2024; boosting/retweeting starts September 13th ◼ Event ends October 31st, 2024]

The goal of this event is to get things done that you’ve already started. We all have unfinished projects whose incomplete status haunts us. Those are what we want to tackle!

The structure is loose, as this is a multimedia event. While primarily aimed at writers, this event is open to any kind of creative fanwork. Fics, translations, podfics, fanart, animations, cosplay - if you started it and never got it done, it qualifies. There is no sign-up required. I will not assign beta readers for writers, but I can boost requests for those who want them! And I can boost messages of those who would like to beta read.

The mod is a danmei fan mainly, but your work can be any fandom. Maybe something you started before your current fandom excitement took over, or one you keep putting off in favor of compelling new ideas.

Feel free to pass this event info along! The more the merrier!

Further rules and clarifications:

Alt text is very encouraged, especially for boost posts or artwork!

If your work is NSFW, I will only boost it if it has appropriate content warnings. Spoilering images is recommended but not required as long as it’s tagged. Do not letter-swap or abbreviate content warnings. These are so people can mute them as needed. Example: "gore" not "g0re"

Remember Tumblr can mute phrases, but each warning should be its own tag as well as in the body.

Please use genderbend or genderswap for characters depicted not as canon genders. Example: "#NSFW #genderbend #gore”

Please use Omegaverse or A/O/B for that content. The original letter order is a slur against Aboriginal peoples and will not be tolerated here, even with the slashes. It, like other racial or identity-based slurs, fall under hate speech and are thus not permitted.

This account will post weekly morale-boosting messages and helpful resources. Every Friday, starting September 13th, will be Finished It Friday. All the completed works posted that week will be boosted together in a big thread, so we can celebrate your accomplishment!

Halfway-point check-in is October 1st. Final event deadline is October 31st. The last Finished It Friday is November 1st.

FAQ:

Q: Are original works acceptable?

A: This is primarily a fanwork-focused event. If original work is the only WIP you have to work on, it's certainly fine to work on it during the time frame of the event. If it is posted publicly when finished, you may tag it for boosting.

Q: Are there any restrictions on topics?

A: No, so long as your event # post is properly & fully tagged for content (see rules about tagging above). "Dead Dove" topics are allowed. Some submissions will be 18+. For me, this is less about the content and more about finishing it. 

The usual restrictions based on laws and Community Guidelines of course apply, so you may need to tailor how you post to which event space your interacting with. Twitter, Tumblr, and Discord all have their own rules. There are also some topics that are in poor taste to make fanworks around. The event organizer and mods reserve the right to not boost your work if they decide it is rage-baiting or trolling. They are not responsible for negative reactions to your works. Please be respectful of those you share a digital space with. 

Keep in mind that when I link to your finished work during a Finished It Friday, it may reach a wider audience than you may be used to.

Q: Are there any restrictions on media that can be submitted?

A: Machine Generated or "AI" images and writing are not permitted. If you are found in violation of this rule, you will be removed from the event. All images, writing, or other works must be your own.

This is a positive, shared space. Do not belittle other creators' medium of choice. Please no fandom/character/ship/creator bashing, and don't berate artists or authors for not being done with something, even if they don't finish by the end of the event. Also, please don't passive-aggressively send this event to the author of an unfinished fic you want to see done faster. 😥 Be cool, respect each other, and keep any interpersonal disagreements to your own tumblrsphere.

All posts and boosts will be crossposted to the event Twitter (finishwatustart) and Discord. Expanded rules, explanations, and Dead Dove guidelines can also be found on the Discord. (invite link in pinned post) 

Fics can be posted to the AO3 collection (archiveofourown(dot)org /collections /FinishWhatYouStarted2024_Fall)

Work-in-progress posts should be tagged #FinishWhatYouStarted2024 . If you complete a wip within the event, tag it #IFinishedWhatIStarted2024 for boosting so we can all celebrate!

Find more information and community on the Discord, if you want! Joining the Discord is not required for the event. As always, if you have questions, don't hesitate to reach out!

[yamujiburo]

POKEMON SERIES RANKED (IMO)

I get this question a lot and haven't made an updated list with Journeys

Original Series (S1-S5)

Sun & Moon (S20-S22)

Chronicles (S0)

Diamond and Pearl (S10-S13)

Advanced (S6-S9)

Journeys (S23-S25)

Black & White (S14-S16)

XY (S17-S19)

Original Series (S1-S5)

OS had that first season charm. Very unpolished, still finding its footing but super enjoyable for those reasons

Probably the strongest series comedy-wise

That GORGEOUS 90s anime style

Main character dynamics were REALLY strong

Ash's personality felt much more like a shitty little 10 year old which was entertaining

Dub writing was also the best hands down

Sun & Moon (S20-S22)

Honestly tied for first with OS for me

REALLY fun ensemble cast! They do a fantastic job giving each character enough time for you to get to know and care about

Excellent modern anime style that perfectly fit the vibe of the season and allowed for some of the best character animation of the show's run

Finally figured out how to write Ash like a 10 year old again (but in a kind/sweet 10 year old way as opposed to OS)

Very different from previous series in terms of the formula they'd follow. Doing a school series instead of another "8 badges to championship" plot felt new and fresh!

This series genuinely made me cry the most (MEMORIES IN THE MIST!!!!! LIKE ARE YOU KIDDING ME)

Chronicles (S0)

Fun concept! It was really nice to see more of the side characters without Ash there. We get to see more of Misty, Tracey, Daisy, Brock, Ritchie, Oak, Delia, Butch, Cassidy, Jessie, James and Meowth!

Stylistically really nice. Just solid drawings all around and it retained the 90s anime style in digital form more successfully than other digitally done series imo

BUTCH AND CASSIDY!!! Team Rocket centric episodes!!! Training Daze!!!!!!!

Idk how possible it would have been (seems like a TON of work) but it made me want one of these in between each season, where we'd follow the characters that Ash had just said goodbye to for the next region.

Diamond and Pearl (S10-S13)

Series I grew up with! Honestly I was kinda a hater as a kid but having watched it back, I love the series

Love that Ash and Dawn were bros. They had a really fun dynamic.

Debatably peak Team Rocket. They had some of the best Team Rocket centric episodes this series.

Contests were really fun and a bit more figured out compared to the Advanced series

Fun, memorable rivals for Ash (Paul and Barry) as well as Dawn (Zoey, Kenny and Jessilina sometimes)

This is unfortunately where I stopped caring about Ash as much. He feels kinda watered down for the next couple series.

Advanced (S6-S9)

Pretty tied up with DP for me

Really fun series! Still had some of that early Pokémon charm

I appreciated that they put Ash in more of a mentor role for May (but he still had a lot to learn himself).

Ash and May constantly butting heads was really fun

May was a very compelling character to me, being very clumsy, kinda lazy, directionless, not really into Pokémon, etc. But then over time, she comes around and finds something she's interested in!

Journeys (S23-S25)

I love the episodic take as well as the way they let the characters jump around from region to region at random

Goh was a GREAT travel companion to Ash. They contrast each other nicely, have moments where they get on each others' nerves but still get along and have a mutual admiration for one another.

It was fun that they made Goh's thing catching every Pokémon (the motto of the entire series) so they could focus on Ash just training and prepping for Worlds.

Amaaaazing style. Took the great parts of classic Pokémon, roundness of SM and blended em together for a really fun look.

Black & White (S14-S16)

I don't think it's that controversial to have BW this low haha

I did enjoy Iris and Cilan but it felt like the writers didn't reaaally know what to do with them? Also this was their first time in a while not having Brock and it shows. I feel like Brock was successful because he was grounded and lower energy compared to the rest of the kids. Having 3 pretty eccentric characters is kind of a lot. No hate to the characters in the slightest, there was just not as much balance.

I think maybe they leaned on Cilan and Iris for more comedic relief because they killed the comedic relief that was Team Rocket this series. I appreciate them trying something new with Jessie, James and Meowth but I don't think it worked very well lol

XY (S17-S19)

I've ranted about this series a lot LOL. I get the appeal of it, but it just wasn't for me. I felt like it was the weakest comedy-wise and took itself a bit too seriously for my taste

My main gripe is that Serena, Clemont and Bonnie all like,,, worship Ash. By doing so, Ash begins to feel like a side character because we're constantly looking at Ash through their eyes. There's so little conflict within the group so their dynamics feel really flat. I think this dynamic could have worked if they leaned waaay more into Ash being a mentor and maybe feeling the pressure of having to be a role model for the people around him.

Team Rocket very much feels like an afterthought in this series. They did in Journeys as well, but at least in Journeys they were doing something silly and also had a handful of episodes dedicated to em.

Outside of that, the episodes weren't super memorable for me

I think it's just frustrating because there was sooooo much potential character-wise

[wordsnstuff]

Hello! I just had the realization my original plot just isn't going to work but I'm almost done with my first draft and I'm too married to a lot of my scenes I've already written to feel like i can fully start over. Do you have any advice? Just thinking about starting over is making me want to put the pen down for a while...

Starting over near the finish line

By first draft, I'm assuming you mean that this is the first attempt at putting the your story to paper. What I'm about to say is not to devalue the incredible amount of work that you must have invested up to this point. It is an accomplishment on its own to sit down and put words on that page, let alone reach a point anywhere near a finish line.

The first time you do something (anything) is rarely the time you do it well, let alone perfectly.

If I sat a beginner down with some printouts of blogposts about knitting and a spool of yarn, I doubt they'd make me a sweater without having to undo at least 50% of the moves they make. That wouldn't be because they're stupid or genetically predisposed to suck at knitting. Regardless of how seasoned you are as a writer, each work you approach is like starting a brand new hobby from scratch. You have to mentally allow for space to make errors and to let go of good ideas. This doesn't mean you throw the good and essential core of your story out.

Take significant time to review what you have, identify the bits and characteristics that you find most emotionally and mentally compelling. Write them down, examine the commonalities and congruencies between them, and work out exactly you like about your story as it stands. There is always good amongst the bad. You seem to already have identified certain parts that you cannot bring yourself to let go, so once you figure why that is, you'll be able to trim away what doesn't serve you and move forward.

You aren't starting over. This is not the beginning, and you will never be back at the beginning again. This is process, and process is imperative to making anything. If you continue to visualize writing as an act that starts at point A and ends at point B you will never be done. Nor will you do justice to your ideas. If you don't allow them to waddle around and fall on their face like the newborn babies that they are, they won't develop as they're meant to.

This is not failure. This is writing. It's a necessary part of what you're doing. It's normal. It's good for you. It's good for your story. In fact, it speaks well to your character development and world building and even your plot development that you can recognize there is so much worth salvaging in this first attempt to bring to the next. You're already emotionally connected to so much of what you've made, and plot is only part of that. If you're able and willing to acknowledge what doesn't work, you will be able to trust yourself when you determine what does. A story is a sum of its parts, and this is just one part that you're going to put down, regroup, and reconfigure.

There are several resources that I've created over the many years to assist in plot development and all the problems encountered within, and those are available on my masterlist for your perusal.

I wish you the best of luck and look forward to your triumphant follow up once you finish that second draft.

x Kate

[fortunafavours]

Welcome to Fortuna, Kingdom of Splendor!

demo • FAQs • bsky

You are the bastard child of the king’s cousin, you’ve never been anyone special. The Crown made sure of that. Taken in by your father after the death of your mother, you were never allowed to speak of your parentage under threat of being sent to an orphanage, so you took on the role of servant to your father's house. Now, just before your thirtieth birthday, you’ve begun having a strange, recurring dream: something beneath the mountains knows your name—something ancient—and it wants you to find it. But the stone isn’t the only thing after you. According to your oldest friend, an elite team of sorcerers from a group known as SCEPTRE are interested in speaking with you—by order of the king. And that's nothing to say of the rumblings of discontent in the streets, led by someone known only as the Crow. Apparently, they've got eyes on you, too. Why have you suddenly become the centre of attention? You’re nobody special. …Aren’t you?

Fortuna Favours the Bold is a low fantasy, high stakes, romance forward tale about self-discovery and buried secrets. Unearth the truth of what waits under the mountain, find out who you really are, and try not to get yourself blown up along the way!

It draws inspiration from media like Dragon Age: Origins, House of the Dragon, the Elder Scrolls series, as well as a myriad of Dungeons & Dragons campaigns I've been a part of, and other similar stories. If you like any of those, you might like Fortuna!

Fortuna is currently a WIP and, as always, is subject to change!

Play as male, female, or non-binary; gay, straight, lesbian, or bisexual!

Get caught up in a government conspiracy, or expose the corruption within!

Choose from six characters to romance: a chivalrous blacksmith, a charming physician, a socialite lawyer, the captain of the guard, the soft-spoken acolyte, or your mage friend from childhood!

Determine the ultimate fate of the kingdom! Will you lead it to ruin, or improve the state of affairs? Will you be a hero of the people, or a pawn in someone else's game?

Protect yourself, protect your loved ones, protect the city - or don't!

But above all, remember to keep the peace. The Crown thanks you for your cooperation.

Fortuna is rated 18+ for explicit language, sexual content, alcohol and drug use, violence, morally questionable behaviour, and more.

For a full list of content warnings, please see below the cut.

CONTENT WARNINGS: sexual situations (optionally explicit), abuse of power, sexism, misogyny, (occasionally graphic) depictions of violence, elements of horror, unreality, mentions of suicide, classism, alcohol and drug use, mentions of upsetting situations regarding pregnancy (abortions, miscarriages, stillborns, infertility, and birthing complications), confined and dark spaces, and death.

There may be some I've missed, but I've listed all the ones that I know for certain off the top of my head. Please reach out if there's something you've noticed that isn't listed here!

Please note that the MC is 29, almost 30; the most significant age gap is 9 years. Please do not message me about this. Everyone involved in the story is a consenting adult and is treated as such. If the gap in age bothers you, don't feel compelled to read it. I won't be upset.

I, myself, am 30 years old, and am fine with all listed age differences (obviously. I created these characters lol).

Now that that's out of the way, meet the ROs!:

Malcolm Ashford, 36 [M]

The primary blacksmith for the Crown ever since they took over his forge, though he's not exactly happy about it. Malcolm is a good, honourable sort; kindhearted and genuine, he's easy to approach and talk to. He is also the biggest hopeless romantic - a fact that Cyril never lets him forget. He can primarily be found at the forge in the centre of the courtyard marketplace.

Malcolm is 6'4" (193 cm), broad shouldered, muscular, and usually covered in some sort of soot. He has fair skin (but is usually sporting an intense farmer's tan), shoulder length light brown hair, a light beard, dark grey eyes, and a beauty mark just above his upper left lip.

His face claim is Eoin Macken.

Cyril Trevelyan, 34 [M]

An old friend of Malcolm's. If anyone asks, Cyril is a "non-practicing" physician. Previously a member of the Royal Physician's Guild, he has since left and now operates an illegal clinic in the lower quarters of the capital, where he can primarily be found, though he has been known to frequent a local tavern and can occasionally be spotted harassing Malcolm at the forge. Cyril is charming, outgoing, and would love to get to know you. Just don't expect him to be very forthcoming about himself.

Cyril is 6'2" (187 cm), with an athletic build. He has tan skin, short, cropped black hair, stubble, and hazel eyes. He has a small scar across his left eyebrow and another small scar through his upper lip.

His face claim is Miguel Ángel Silvestre.

Dominic / Dominica Trevelyan, 38 [M/F]

Cyril's older sibling and the current Commandant of the King's Army. They care about the citizens of Requiem, but are less idealistic than Cyril about how to go about bringing change. They generally mean well and try to make things as easy as possible for the masses, but it isn't always seen as enough. Their relationship with Cyril is... tense. To say the least. They are taciturn and serious, and could probably do with some lightening up.

D is 6'4" (193 cm) (M) / 6'1" (185 cm) (F). They are broad shouldered and a little paunchy, but muscular, strong, and a force to be reckoned with in battle. They have tan skin like their brother, short, black hair that they keep slicked back from their face, and light brown eyes.

Their face claims are Keon Alexander and Rosa Gilmore.

James Johnathan / Jane Josephine 'J.J.' St. James, 28 [M/F]

JJ is a notable lawyer from the noble St. James household, though they aren't typically the first one that comes to mind when the St. James name is brought up. No, that luxury would go to just about anyone else in their family, given JJ is the only one without magic. They're a hard worker, extremely diligent, but have just a teensy tiny chip on their shoulder. They're a bit smarmy, but there is a good heart in there. Somewhere.

JJ is 5'10" (177 cm) (M) / 5'8" (173 cm) (F). They have a lean, athletic build, pale skin, light blue eyes, and copper-brown hair.

Their face claims are Richard Madden and Philipine Urvois.

Amaryllis / Amaranthus Calyx, 30 [F/M]*

One of the royal twins, but also an acolyte to the Divine Valentine, goddess of mercy. They have chosen to dedicate their time to the Temple of the Divines, honing their healing magic and providing succor to those in need, emulating all the virtues Valentine embodies. They are soft spoken and kind, but sheltered and naive. They want to help, but have an impressive lack of self-awareness and preservation, and are more likely to get themselves into trouble unintentionally. Hopefully, you won't have to babysit them too much.

A is 5'10" (177 cm) (F) / 6'0" (183 cm) (M). Amaryllis has a slight, willowy build, shoulder length, dark brown hair that she wears in a bob, a small dusting of freckles across the nose, and dark brown eyes that (like most members of the royal family) are ringed with gold. Amaranthus has a lean, athletic build, short, dark brown hair kept neat and styled back from his face, and the same dark brown gold-ringed eyes as his sister. He also wears glasses, though he's constantly forgetting where he put them.

Their face claims are Adeline Rudolph and Kenta Sakurai.

*Unlike the other gender selectable ROs, A's gender setting determines which of the two twins you end up encountering as opposed to deciding the gender for one character. The other will appear in the story regardless, but will not be romanceable if you select the opposite gender. The other twin has a separate job, position, and demeanour and an entirely different personality from the chosen romanceable one, which will be determined by who you select as RO.

Elliott 'Eli' / Eleanor 'Ellie' Rosefinch, 30 [M/F]

Your oldest friend and most trusted confidant, they've known you since you were twelve and you've been thick as thieves since. They're one of the very few magic users in the capital, and have been recruited into SCEPTRE, the kingdom's elite training program for budding sorcerers. They're down to earth and easygoing, grounded, and calm under fire. They tend towards being the far more rational of the two of you.

E is 5'11" (180 cm), with a dancer's build. They have brown skin, short, curly black hair, brown eyes, and sparse freckling.

Their face claims are Dev Patel and Nikita Chadha.

[chirpsythismorning]

Mike's character regression can be explained in large part by one emotion in particular: guilt

Just want to preface this by saying that, this is not Mike slander. I love this dude. In fact, I think what makes Mike such an interesting character is that a lot of his behavior throughout the series can be explained in part by previous moments, and after really looking at all these moments together, what you end up with is a pretty fucked up story.

So while some might want to take this as Mike slander, these points I'm making are a part of Mike and things he has done and said and whether they were intentionally harmful or not, it's Mike. It's all shaped him and his role in the story. The fact that we're seeing a visible shift in his behavior at all, with plenty of moments from the show to back up what brought us here, makes it compelling enough to talk about.

So, without further ado, back to our roots:

Ah yes, the infamous canon proof disputing Mike's I think my life started that day we found you in the woods, claim during his monologue. Not only that, but in this original scene from 1x02, it turns out Mike actually intended to send her away the next day (all of which El could hear Mike saying from the open bathroom door).

Mike outright calling El a weapon, again telling the others they need her because they stand no chance at getting Will back otherwise.

I wont elaborate on this now, because there is way too much to unpack that'll honestly be more worthwhile discussing further on.

For now, this is a secret tool that will help us later.

These next couple scenes right here though, are pretty painful if I'm being completely honest. The way its shot, specifically El's very visible exhaustion, accompanied by the varying priorities of others around her, leaves me feeling pretty unsettled upon rewatches.

I obviously can't remember how I felt when I watched these scenes for the first time, but I imagine I viewed them as this huge romantic moment for Mike and El (I was tricked by heteronormativity, okay?). But, again, upon rewatching them since then, I've realized I get this sort of sad feeling by the end. You'll see what I mean.

El obviously just went through something extremely traumatic. She tried to go find Will and Barb in the void, only to find Barb dead and Will presumably alive, but then slipping through her fingers at the last second (no, literally).

We then got a moment where Joyce held El while the others sat by quietly because she clearly needed a moment of comfort given what she just endured.

Then in this scene shortly after, everyone is leaving to get ready for their final attempt at saving Will.

Now, notice how not only Lucas, but also Dustin make the effort to reach out to El to comfort her affectionately after that traumatic event, with those twos' actions specifically being showcased in sequence?

Lucas, who spent the better part of the season being critical of El, is now ending the season rubbing El's shoulder to warm her up, literally soothing her to make her feel better.

Then there's Dustin, who right after Lucas' gesture makes a gesture of his own, putting his hand on her knee reassuringly, to show her he's there and he's happy she's okay.

And lastly there's Mike, who is so kindly allowing El to rest her head on his shoulder. This placement of Mike and El here is definitely a testament to the fact that Mike has vouched for El this whole time in contrast to the others and so, understandably, she put her head on his shoulder for reassurance, because out of the three of them, he's the one whose been looking out for her the most. (Right?)

Now you might be thinking that this sequence's only purpose was to show Lucas and Dustin's development with El, and that it wasn't intentional that they focused on Lucas and Dustins' priorities in this moment in contrast to Mikes'. And I raise you, this next scene.

Here we have a focus on Mike looking on to where everyone left, while the others beside him are presumably just processing what went down and taking a rest (and boy oh boy do they (El) need one).

Mike on the other-hand decides to take this moment of rest to display the most cliche and universal forms of distracted unrest known to man: he checks his watch.

Mike then stands up abruptly, causing El to fall without his shoulder there for her to rest on anymore, all while her and Dustin are looking on after him, sort of like... Okay?

It's small. It might seem insignificant. But if you actually pay attention to what this scene is trying to make you feel, after really looking at it for what it is, it's kind of sad.

In a moment that chooses to highlight the other boys' acknowledgment of El after what just happened, and not only that, but at the tale end of their final battle of the season, Mike is... distracted?

Mike, who has been presumably looking out for El more than the others in the party this whole time, is conveniently out of commission? And right now when El is looking for his reassurance the most? Mike doesn't even have a moment to say, 'Hey I'll be right back, I just want to check something. Can one of you?--', asking Lucas or Dustin to sit next to her in his place. No. Dude just stands up without even acknowledging her.

If it was any other moment in the show, under less post-traumatic circumstances for El, then I wouldn't even think much of it. But it's at this point in the story when El is essentially at her most exhausted and quite literally seeking out support from others, specifically Mike, that makes his distractedness so eery.

Again, you might still be thinking that this isn't that deep. However, I think based on the events leading up to this, and what follows right here, could quite literally hold the answer to the guilt Mike is still keeping to himself to this day.

So... How are we feeling?

Are we feeling like Mike None of you are thinking about El's wellbeing right now! She could get brain damage from using her powers too much! She's not a weapon!* Wheeler is a little bit of a hypocrite? (I told you that tool would come in handy!)

It's actually quite terrifying how similar this scene is framed to the scene in Hopper's cabin in s3, where Mike pretty much says the exact opposite. In s1 Mike goes from being one of the first people to refer to El as a weapon within the context of them using her powers to find Will, with him being completely un-attuned to the fact that she is exhausted in this moment while the others are saying El's rest and safety is the most important, to then in s3 completely flipping script and saying El was using her powers for nothing, blaming the others for treating her like a weapon and not taking her wellbeing into consideration.

It would be one thing if Mike had a little arc where he acknowledged this script flip. Because that's what it is. It is them having Mike use a word in s1 to describe El, that being weapon, only to say the others are treating her like that with that same word being used. It is them having Mike not agknowledge El's well being after overusing her powers, only to say the others aren't taking her wellbeing into consideration for overusing her powers.

And it would be one thing if Mike had spoke to El or literally anyone about how he felt like he wronged El for planning on sending her away the next day after they found her so that they could go back to looking for Will, or how he said she was a weapon that they needed in order to find Will, essentially being no better than the people she just escaped from, who also used her for her powers. But we don't get that (actually we do.. but it's not acknowledged for what it is aka survivor's guilt. It's instead seen as romantic... another tool for later...)

Now, don't get me wrong, I don't think any of Mike's behavior takes away from what Mike did do for El, because yes he was kind and accepting when the others weren't. But even despite all of that, at the end of the day, he was often at the forefront of expecting El to risk her life for them, even if he wasn't outright asking that of her.

Before you freak out, No. I don't think Mike, a literal child, was capable of fathoming that El was going into these situations risking her life. She's a superhero. El's alternative was literally going back to the lab, running, or staying with Mike. This was her safest option.

After a bunch of rewatches and putting together a lot of these moments as a whole, I've come to a point where I believe that Mike's behavior throughout s1 was him thinking that because of who El was, she's already in danger at all times. That is a constant reality for her. And so why not have her help them find Will, because she is able to, all while he can also help her. And El clearly wanted to help them, because she wanted to help good people and finally do something meaningful with her powers for a change. Unfortunately, she also had to endure PTSD flashbacks almost every single time Mike and the boys had her use her powers to help find Will.

Speaking of Will, he is currently missing and possibly dead. Will also, in contrast to El (for now...), does not have any sort of superpowers.

Mike's concern over the threat of Will's livelihood is much greater than Mike's acknowledgement to the true risks El is exposing herself to each time she uses her powers to help them. That is s1 canon.

Is there times when Mike is focused on El and her well being. Absolutely! But is there also times when Mike is not showing any display of concern to El's well being in the moment, in complete contrast to the other characters around him... Also yes.

And so the events happening the way they did, with Mike himself not fully comprehending the severity of what's been going on during these high stake situations going on around him, makes sense.

And that's what makes it all the more sad that when Mike finally does realize what he's truly been asking of El this whole time, which is to risk her life for them, it's too late.

This whole scene is obviously very emotional. All of the boys are crying, but the focus on Mike calling out for El painfully is heartbreaking.

But what's even more sad to me, is that El has been sort of used to mistreatment her whole life. She's used to having to find any comfort she could get from people in her life, all the while they were using her for her powers. I mean even despite Brenner being who he was and doing what he did, she still showed these signs of wanting to love him despite it. Which is very very fucked up. But knowing what she's gone through, makes sense.

Mike on the other-hand does greatly contrast Brenner because he was one of the first people to actually treat her with genuine kindness right from the start (before he even knew she had powers), making it a lot easier for her to care for him even despite that pesky trait of using her for her powers being almost synonymous with Brenner's very similar trait.

So when she looks back at Mike, and points him out specifically before sacrificing herself, it feels like a few things at once.

It feels like her acknowledging the fact that she appreciated him specifically for taking her in and supporting her more genuinely than anyone has in her entire life.

And yet it also feels like her, either intentionally or unintentionally, acknowledging the unfortunate side affect caused by days of Mike leading the efforts to find Will, with the expectation of her to do things to achieve that, which could have all lead to her demise technically. And so now when it all comes down to it and the stakes are at their highest yet, same as the risk, she's got to a point where she believes there is no other choice but to do just that, risk her life, especially if it means saving them.

While this is happening, Mike is backtracking in real time. He is trying to get El to stop and it's because he doesn't want her to die. Obviously.

But that's the fucked up part isn't it? When he finally realized what he's been asking of her this whole time, it's too late.

Which takes us to S2 Mike Wheeler, known by many for being a boy whose been calling his true love everyday for almost a year now because he's just so in love, but is actually in fact a boy suffering the most intense form of survivors guilt, one that involves a person who genuinely feels responsible for the persons death...

But that will probably take at least another 2,000 words so I'm thinking maybe I better split this into multiple parts.

I will tease that the next part involves one specific detail in particular that I never see anyone talk about, a detail that I think, in combination with what's discussed in this post, is so important to understanding Mike's breakdown for what it truly was at the end of season 2. I will also probably do more posts beyond that for s3-4, to delve into the impacts these moments from the first two seasons have basically put in place a perfect recipe for what is currently going down.

So feel free to stay tuned for those nonsense updates.

Continued

[oneslimybastard]

Another underutilized aspect of N, Natural Harmonia Gropius himself, is that he's conceptualized as not just a Math Guy, but a Math Genius if we go by some interview trivia notated on Bulbapedia.

It clearly shows in the way he speaks since his (translated) dialogue (idk about the original japanese one) is full of hamfisted references to formulas and frustration expressed when the chaos of the world does not align with them — which to me is like, the core of his character, something that makes him both An Asshole to deal with but also a very intellectually curios and creative individual. It's just a brand of creativity not a lot of people can keep up with nor understand.

N likes math because a lot of math is about clearly defined variables and their relationship to one another. If you come across an inconsistency that doesn't fit any prior definitions, you iron out a new definition and suddenly the field has expanded upon itself tenfold. It aligns with how his Very Autistic Brain functions, x + y = z, if I do x to y then z will happen. If z doesn't happen, then that just means I have to identify the hidden variables within the exchange and rewrite the formula to be more accurate.

Black and White's quality of writing is. Like pokémon often is. Questionable at best. The foundations are there but the execution is dumbed down and corny because it's still aimed at kids, BW in specific really cutting the theme of pokémon trainer ethics short in favor of just "dang u beat me in the pogiebattle guess ur right!". How-ev-er. In my head, and the reason why I still find the plot of those games compelling (aside for my unhinged thirst for goth man-milf Ghetsis) is that to me they're about local cult-raised autist Normal Henry Gropus bashing his head against the world over and over to desperately try and make the formulas make sense, to distill it into variables he can understand and predict on a consistent basis, and failing miserably at it. Because even if the world is Technically made up of a bunch of chemistry that you could, in theory, predict, there's just a lot of random noise in there from microscopic complexities that fuck everything up.

Pokémon are simpler creatures (discounting the eerily intelligent ones) who will be nice enough to behave like math problems most of the time. Humans rarely extend that grace, the more N studies them like a science project the more contradictory variables pop up. They have a million thoughts in their head he doesn't have access to, that brew into feelings he doesn't understand, which leads to actions he can't do a proper traceback through. Which is frustrating, devastatingly frustrating. At least at first.

Due to how BW2 pans out and my own yearning for thematic mirroring, whereas Ghetsis gives in to the Autistic Bitterness over all these NTs he doesn't fuckign understand, I like to think N develops a sort of joy in studying people like the impossibly complex math problems we are. Because he likes math, he likes figuring shit out, he likes buying a nightmare rubik's cube and charting the squares out on a nightmare variable graph (listen i am not a math guy. i respect the hustle but my skill level is too low to accurately attempt to simulate the process in writing. im sorry math guys) so he has a home-made flexible cheat code on how to solve any possible mix-up of it. It's fun for him, it stimulates his brain and he is so stupid good at it that he can only share that joy with like a stray alakazam or metagross because he's a bit of a tarzan just hanging out in the wilderness, he doesn't know any high end mathematicians he can casually geek out about combinatorial game theory with, and the normies just do not get it .

I think this math enjoying is kind of a big part of his ~Innocence~ as well, since there's a lot of childlike glee to being a Math Guy. It's the love of problem solving as a process rather than a means to an end, it's playful, but severely misunderstood to the point where people kinda might assume things about you if you are a math guy.

N's love of math helps him love the world but it also isolates him. He's a genius, but since he can't communicate it in a palatable way it'll get overlooked in favor of him just being a loomy weirdo on the street chatting up the local patrats.

If introduced to DnD though he'd spend so much time on forging ridiculously optimized multiclass builds, then migrate to digging through old obscure sci-fi ttrpgs from the 80s with hellishly complex systems just for the funsies of learning how the presented variables behave within a variety of frameworks, but then if you actually invited him to play with your group he'd look at you like you'd just called his mom a llama.

He's a neat guy to me, STEM guy who's also one of those animal rights activists who's a little too PETA-coded, I like him :)

[ratwavekayla]

Transgender Deathmatch Legend has a few solid facts about your player character (your Face). You're explicitly trans, you're explicitly a wrestler and implicitly you exist in a world that is hostile to you.

Character creation in the original TDL focused on key pick lists to fill in some of your backstory and then pulling cards to create a finisher. Character creation for the sequel builds on that while also adding questions that are intended to guide players towards creating more well rounded, full textured characters.

The ring names you can pick from got an overhaul (basically to keep things fresh for long term fans). The intention of those names is if you grab one from the picklist it's evocative enough you can start to build a whole character around that. If you decide to not pick one and just make your own hopefully the picklist has served as some inspiration. Here's four of the picklists names I think are particurlaly good:

Tiger Masc

“Hot Rod” Trinity

“Flaming” Blu Heatly

“The Consequence” Shelly Theodore 

Dominator 1

The two big picklists then focus on your shoot background and the gimmick you have. Similarly to how you pick a ring name and a gimmick name the character creation in Transgender Deathmatch Legend is reminding you that you are someone who puts on a persona. That persona might be a lot like you, or it might be an escape from parts of yourself. I think this an element where the game reminds you of that a lot and then assumes that someone used to roleplaying games should find something interesting in there.

(There's more explanation on how gimmicks are thought off and an outright blunt question of "how much of your real self is in this gimmick?" in TDL2 to help out people less used to thinking about performance and personas. It's a theme that compels me as someone who's been a wrestler, a comedian, and a teacher; areas where to different extents you're putting on a mask.)

Here's some of the shoot backgrounds:

Started learning the ropes after experiencing a hate crime

Introed to wrestling through an ex-best friend

Wrestling legacy blacksheep

And here's some gimmick starting points:

Flamboyant showboat who frustrates and flusters your opponents

An old-school throwback with a loud personality

A serious shooter with black trunks and black boots and a mean look

A tortured anti-hero who mines pain for pathos 

An in-your-face punk with skills honed in bar room brawls

(These are broad because you can match them up with the implications of the shoot name you've picked or created and that combination brings a gimmick to life)

More open questions in the game include stuff like "Describe your gender, both in the terms you use to yourself and to society." and "Did you realise you were trans before you became a wrestler?" as well as the aeformentioned real self/gimmick question. There's also a picklist for "what people say about you" which is obviously a very different question than what you're actually like. These questions are there to get players thinking about how their characters marginalisation affects how they interact with the world around them.

The drawing cards for a finisher mechanic is back, though expanded this time so there's a unique table for each different fighting style.

At the top of this page you can see that one of the scenarios (Fight Forever) involves doing a mirror image character creation for your rival, before playing out a series of fights through time that defined your relationship. I think the most interesting question there is the open one "Are you trans as well?". Like, this scenario specifically is about fighting/sport as a relationship. I think that question has a lot of repercussions about what that relationship is build on; is it something you have in common and connected over, where you placed together as the only two trans people in a way that feels semi patronising, or is there a tension in that one of you just has significantly more opportunities in the world than their creative partners.

So yeah, that's an overview of character creation. I'll probably do a layout sample of what it'll look like in the book proper sometime. The games launches on the 29th and things have been slower than I'd have liked (I worry that the games content has meant it hasn't been favoured by the algorithms of the world). If you're excited about the game giving the teaser page a pre-save would go a long way to ensuring the launch is successful. There's big exciting things coming for this as a campaign, but to get to any of that I need to hit that initial goal. I'm not down for the count yet.

[batmanisagatewaydrug]

heya!

so, WRT that "incest is hot" thing you mentioned, would you mind elaborating on that a little? Because I'm sort of in the same boat, but have never been able to put my finger on why, and always felt kinda guilty about it (yeah, even though nobody's getting hurt. whatever)

best I can figure, it's some degree of "because you're not supposed to," which makes it exciting. or something. IDK.

well you see sometimes I think it would be hot and/or funny if two characters fucked each and happened to be related. the Tridentarii twins. Helene and Anatole from the short-lived and devastatingly iconic musical Natasha, Pierre, and the Great Comet of 1812. Wolverine and his half-brother in the indie art film X-Men Origins Wolverine. reigning champions of canon loser twincest Jaime and Cersei Lannister, although I will freely admit that one is actually just comedic to me there's nothing sexy about those two. it's not so much that the mere concept of incest is hot to me as sometimes two characters have something very specifically wrong with them that I think could include fucking their sibling and that can be kind of a compelling space to play in.

[shizunitis]

Luo Binghe & Tianlang-Jun: Origins. And a Bit of Projection.

Disclaimer: This is basically just a collection of quotes from The Scum Villain's Self-Saving System, Volume 3, accompanied by (adjective) thoughts, and then even more relevant quotes listed at the end. If I could, I’d paste the entirety of Chapter 18.

“As expected, I can’t bring myself to hate humans.” — Vol. 3, Chapter 21: Always Together

I will always be conflicted on the topic of Tianlang-jun, and it annoys me. There is so much I could say about him, and so little I can successfully articulate. He is, to me, more confounding, complex and tragic than Shen Jiu.

He’s pitiful and awe-inspiring, wicked and affable, cunning and wide-eyed in his curiousity. He is a compelling, heartbreaking character. He alternates between emotionless wisdom and mournful apathy. I admire how his knees don’t buckle under the weight of his grief, but how he crumbles at the barest hint of hope. How rage claws at him and, still, he can’t figure out how to make it stick.

I empathise with him. I understand him.

But then, in the distance, Luo Binghe's indifferent voice disturbs the silence, causing me to drop my drink onto the floor and this post onto your screen:

“He’s not my father.”

It’s an interesting exercise, exploring their relationship in reconciliation fics. To see them interact (semi-)honestly, watch them take turns filling up the chasm between them. It’s wonderful. Every fic I’ve read centred around them was a delightful read that I still think about.

However. I cannot see Tianlang-Jun, as I understand him, as Luo Binghe’s father. And not just because of the 3rd Novel’s events.

But because Binghe had hoped for something; he did have that wide-eyed wonder. He did hold one last window open, for the sake of an improbability he couldn’t quite, just yet, dismiss.

It’s what (most) orphaned and/or adopted childred do.

Though Luo Binghe had never said a word about it before, Shen Qingqiu knew that he harbored some fantasies about his birth parents. […] In fact, he’d always secretly fantasized about whether his parents might still be alive, and how well they’d treat him, and how they’d never let him suffer the mildest slight. — Vol. 3, Chapter 17: Tianlang

It is the most human thing; to want to be helped, accepted, invited by those given to you. A family is given to you. Whether you believe it an act of the divine, of nature, of coincidence, it isn’t something you fight for. It’s the first and, arguably, only thing you don’t have to fight for in life.

Depending on a multitude of factors, that can be a blessing or a curse; but where there is room for interpretation, questions left unanswered, most childred—Binghe included—will turn to their imagination, and try to make sense of it. Usually, to comfort themselves, to reassure themselves that surely, if their family could, they would have.

And, yeah. Most likely, if the Palace Master had gotten punted into the Sun like he fucking deserved, they would have. But does it matter?

In the face of a bleak reality, what comfort is a could-have-been?

He liked to call Luo Binghe “that son of mine,” but he didn’t seem to possess any concept of fatherly affection. […] Luo Binghe was in fact…someone who was unloved by even his own parents. — Vol. 3, Chapter 15: Holy Mausoleum

What use are good intentions to an abandoned child? What consolation is it, to say, They gave birth to you, when that child has seen no evidence of their care? Does it dry their tears, that their mother can’t be here, but she surely would have wished to be? That their father would protect them, if only he knew of them?

(And don’t make me tell you about the visceral horror I felt reading the Origins chapter. I’ve yet to make my peace with it. MXTX, Airplane, whoever: you’ve ruined me.)

The washerwoman was and continues to be, to Binghe, his only mother. And I would argue, that’s healthy. Even independent of his other traumas (Abyss, Shizun’s betrayal, Xin Mo’s influence, living on the streets, etc, holy shit Binghe) Luo Binghe will not accept anyone else as his mother.

“Who is this Su Xiyan?” Luo Binghe asked coldly. “My mother was a mere washerwoman.” — Vol. 3, Chapter 18: Origins.

It may seem callous. It probably even is! But it is a healthy line he’d drawn by his own initiative. It’s what helps him, what he feels he needs to do in order to do right by his mother, and his own heart.

And! Tianlang-Jun doesn’t seem to give much of a shit, either!

Won’t, probably, even in the future, once the dust will have settled. He is exhausted, weary with carrying the corpse of his love, the loss of his nephew. Whatever goodwill he shows, it’s a perfunctory sort, because he can’t afford more.

So. Uhh.

Tianlang-Jun is not a character I can love, nor one I can hate. Usually, I can’t help but be inclined to love complex characters. Like them, too—though that’s more of an action-based thing rather than just said character’s personality.

But with Tianlang-Jun, I’m stuck whichever way I turn. If I want to love/like him, I’m drawn back by Binghe’s pain and disappointment. If I try to hate/dislike him, I’m drawn back by his own history and grief.

In conclusion:

I don't know! I'm not really trying to, like, prove anything. I still love the aforementioned TLJ & LBH fics, I still love their dynamic. I started walking and ended up exactly in the same space. This, perhaps, could be considered a Heavenly Demon Family Mobius Strip!

I'm not really trying to say anything. It just… makes me feel conflicted, and angry, and whenever I allow myself to think about it a bit more, sad.

But.

However!

Alas.

Nonetheless, even.

As a reader and—on my better days—a writer, all I can say is:

As promised/threatened: some selected passages, for your reading pleasure:

So, it looked like neither the father nor the cousin had any intention of acknowledging Luo Binghe. — Chapter 15: Holy Mausoleum

He liked to call Luo Binghe “that son of mine,” but he didn’t seem to possess any concept of fatherly affection. — Chapter 15: Holy Mausoleum

Tianlang-Jun lifted his hand, took a look at Luo Binghe’s snow-pale face, and commented indifferently, “He looks like his mother.” “His eyes look like yours,” came a chill voice from the side. — Chapter 15: Holy Mausoleum

The faint hopes and dreams Luo Binghe had held in his heart for many years had been mercilessly pulverized into so much dust. […] [Tianlang-Jun] refused to speak a single word of their relationship and had been utterly ruthless back in the Holy Mausoleum. […] To his parents, Luo Binghe was an unwanted child. — Chapter 18: Origins

“If he was my father, why didn’t he bring it up earlier? Why not tell me?” The most Tianlang-Jun had said was that single line he offered while beating up Luo Binghe, devoid of either praise or criticism: “He looks like his mother.” He looks like his mother. What of it? But that was all. There was nothing more. — Chapter 18: Origins

Luo Binghe was indifferent. “He’s not my father.” […] Luo Binghe shook his head. It was unclear what he was stubbornly clinging to, but he repeated, “He’s not my father.” — Chapter 18: Origins

Luo Binghe raised his smiling face, his eyes shining brightly. “Mother was the kindest person in all the world to me.” — Chapter 19: Shen Jiu

[darth-prequelist]

The acolyte is cancelled?!?

Excuse my french, but WTF. Honestly.

I suppose the whiny idiots on the internet won. Why can we not have nice things? Why can't you just let people enjoy a show?

It felt like Star Wars to me. And we rarely get any Sith shit at all and once we've got it...Boom its gone. Evil twin trope and seduction to the dark side (very literally)? Amazing. Wonderful fight scenes, compelling characters. I must say I was so invested in Sol and Osha's relationship, the twins, and Qimir and Osha's.

We were going to have Plagueis (maybe?)! And now he's gone. Osha's lightsaber turned crimson??? And we're simply left with THAT! No conclusion. NO NOTHING!

And the author, Headland, had a plan. A whole overarching storyline and now we're left with one season and more than a handful of unanswered questions.

This is why we can't have nice things. Because of those pesky whiny, loud fools on the internet. It disgusts me that they're cheering over the fact that its cancelled. If you don't want to watch it, don't. Let everyone else enjoy it who does want to watch it.

Don't shit on what other people like. Its disrespectful, its immature and its unbelievably uncool.

I'll admit it. I love everything Star Wars. Sequels and all. Flaws and all. The Acolyte had its flaws but even the Original Trilogy had its own. Example: Luke became attached to Obi-Wan within a day and become a Jedi within a few days. The end result: no one cares. But the second its a new show, everyone cares about every little mistake.

And I was rather excited to explore a world set in the High Republic. Now its gone. GONE GONE GONE! We've only seen it through books and through other media. I cannot tell you, I followed this show the second it was mentioned and announced. And the fact that its ending like this is so unbelievably frustrating.

Season 1 was for sure just a setup and I don't mind that but now that's its cancelled. Just...why. The children storyline was a bit annoying and there was for sure more to the story. Why did Torbin kill himself? There had to be more. There was so much guilt and I don't believe that's it. Something to be explored in Season 2 which will never happen.

One last thing. For the folks that like guys, we've lost Qimir. Right when Star Wars is beginning to consider people who like men, they pull it right out from under us. We had Leia in a bikini in the Originals which I could care less about. Plenty of Padme in the Prequels. A bit of Kylo Ren. And now, Qimir. The pinnacle of perfection, those arms were just...hot. I'll admit it.

And now because of the haters, there will be no more. No one hates Star Wars more than Star Wars fans. I'm going to end this rant now before it gets far too long. All in all: I can't believe it.

I truly wish I could do anything. Something to bring it back.

[padawansuggest]

Real take: I like Star Wars. I like the prequels because they have more fleshed out world building than the originals. I like the originals because it has a compelling storyline and character building. I like the cartoons because they do things that live action cannot. I like the children’s show Young Jedi Adventures and I think it’s both cute, extremely full of world building, and it’s designed to bring back the cartoon storyline of learning a lesson every episode that young children can relate to. I like the Mandalorian because it took a species with exactly two known people from it, and added a third, but made them a baby, and they were cute, and it shows the morals of Mandalorian adoption and love for children. I love Ahsoka because it took a favorite cartoon series and not only brought it to life, but also it’s funny and very full of world building for both the New Republic Rebellion scene, as well as more Dathomirian nightsister lore. I love a lot of other Star Wars off-shoots because they gave good storylines, they try to bridge plotholes, and a lot of amazing characters and new places to play with. I adore, fucking love, would give my life for Star Wars Visions; the lore and new concepts alone have captivated me and I can and HAVE made posts about things Visions did that no other SW series has touched and I’m so obsessed with the force and it’s aspects as well as just species and such you have no idea I would sell any of you for SW Visions. In fact, I would sell any of you for Young Jedi Adventures too. The worldbuilding alone for those two series is enough to have me vibrating with excitement with every episode. Sometimes I rewatch episodes of them just for random juicy facts that I can use for fics.

But you know why I don’t tell people I like Star Wars in real life? People always lookin at something they hate, and the most incel take on it is that it’s got too many women now. But irl non-fandom people who just want to ‘enjoy the ambiance of the original trilogy’ and me do not get along because they actually hate Star Wars. They genuinely hate Star Wars.

I can give you 50 plot lines in various sections of canon and legends that boiled my blood (tho not that one time Anakin at 12 literally boiled a man’s blood inside his body, that was hilarious his eyes turned black like a demons I’m so obsessed with him), but I’m not gonna talk about those.

Aren’t you exhausted? Wouldn’t it be nicer to gush about how amazing a certain costume design was? How the implications of a certain species makes you so excited you could burst? Wouldn’t you like to talk about how that one character just doesn’t get enough love and it wasn’t because they were fridged it was just because they didn’t get enough love from the fans for being black or female or disabled or something?

I am going to tell you this now, and you’re gonna hate me for it but I’m right: if you didn’t like Mortis because you think the force Doesn’t Work Like That? You don’t like Star Wars.

I’m tired of interacting with comments on commercials because it’s full of idiots crying about more women, a black character, the fact that ‘oh that wouldn’t happen’ as if the High Republic era didn’t literally have some sort of fucked up midichlorian vampire roaming the outer rim killing anyone force sensitive. Obviously they def would have acolytes set before the prequels shove it up your ass.

Anyways. Stop talking about what you hate. Yes, I get it. We are tired of rote pumped stories, but that doesn’t change the fact that there will ALWAYS be someone who hates the story you love, and loves the story you hate. You cannot please everyone, and I for one have found just about all off-shoot SW series individualized and compelling in some way or another.

You know what I did when I starting hating about 90% of all new Marvel movies? I stopped watching them. If I want back in the fandom I have older ones I can watch or simply only interact with fics.

Because Marvel, as much as they Need To Calm Their Shit, isn’t about me, and it isn’t for me anymore.

But I think a lot of you hate so much Star Wars content that you truly need to stop interacting with the series. It’s not for you anymore. And just because you didn’t like it doesn’t mean it’s not real SW. Not sorry, but this ain’t your scene anymore and you need to find a new one.

[cannedwyrms]

Spoilers for Shadow of the Erdtree but...

I'm gonna talk a bit about Miquella.

So, I've seen a lot of (what I believe to be) misconceptions about what we learn about his character in SOTE. I'd like to clear them up as best I can, although I'm no expert at the lore. Still, I think a lot of people are quick to discard him as an irredeemable villain too quickly, or believe that his character in the dlc is different from how he was presented in the base game.

Now, in the base game, I too thought Miquella was pretty cool. He had the rare honor of being one of like 3 characters to not be racist, he seemed to actually care for his sister and have a good relationship with his brother, and he just seemed like the only demigod with some kind of basic empathy.

However, while I believe all of those things are true, there were signs that there was something deeper going on.

Take the bewitching branch, for example.

It's description goes like this:

"The Empyrean Miquella is loved by many people. Indeed, he has learned very well how to compel such affection."

So, basically, we already knew he could charm people.

Here, I think, is the first misconception. Miquella does not brainwash or mind control people, he just has the ability to make people like him. "He wields love to shrive clean the hearts of men," as the honorable sir Ansbach says.

Shrive, by the way, means to confess, or in this case I think absolve.

So, while Mogh is absolutely the victim, it should be noted that he didn't abandon his original goal. He just factored Miquella into it. His plan went from "rule my dynasty" to "rule my dynasty with Miquella." Still bad, I want to stress, but I think people believe that Miquella can just turn people into mindless slaves or something. All he can do is make you love him and see his point of view.

Next, let's talk about him and Malenia. In the base game, he seemed to really care for her, going as far as leaving the Golden Order when he learned it wouldn't help her.

Now, though, people believe he actually never cared about her at all and even that she was brainwashed into following him.

For this, I'll actually quote Miquella's dialogue in the Consort Radahn fight. (We'll get to him, don't worry)

"My loyal blade, and champion of the festival. Both your deeds will ever be praised in song."

So, when he says "my loyal blade," he's talking about Malenia, right? You know, Malenia, the blade of Miquella.

It's obvious to me that Miquella did care about his sister. His actions in the base game reflect this, and he's the same guy in the dlc, so of course he'd still care about her.

I suppose he could also be talking about Leda here, but what I got from her arc is that she was always doomed by her own bloodlust to be a failure to her cause. In the end, she never truly understood Miquella, and he probably never even knew she existed.

But I'll save all that for another post.

Point is, Miquella definitely cared a lot about his sister, so much so in fact that, in the moment he was so close to achieving his goals, he praised her accomplishments.

But, there's more to his dialogue, which I will use to clear up yet another misconception.

Miquella also praised the tarnished here. "Champion of the Festival," and all that.

This is because Miquella doesn't hate anyone. He doesn't want to fight us. Consider his instant lose move, where he charms you. To me, this reads as Miquella looking for a peaceful outcome to your conflict. What does he say to you?

"I promise you a thousand year voyage guided by compassion."

And

"Lord of the Old Order, let us go together."

It's clear to me that he's trying for a peaceful solution.

See, I think a lot of people have begun to believe that Miquella is some kind of compassionless robot, but, as always with elden ring characters, it's more complex than that.

Miquella obviously has a lot of empathy for the world. Maybe even too much. Instead of him wanting to rule over everything as some kind of God, he simply wants to make the world a kinder place.

Like Marika, he sought godhood not for personal power, but for a cause. But, as we all know by now, to become a god in Elden Ring is to abandon your humanity.

Miquella literally does this, while I think for Marika it's a bit more metaphorical.

Elden Ring is about how people lose themselves in pursuit of their goals, and this is especially true in SOTE.

So, with that framework, Miquella is actually the obvious choice for the main antagonist of the dlc.

Think about it.

What better antagonist could there be for a game about purpose and cause being twisted than a highly compassionate person who became a monster? It's almost painfully on the nose. (In a good way)

Miquella might even be aware that he's done awful things, but as long as it's in service of a better future, he probably sees it as a necessary evil. Still evil, mind you, but necessary.

Normally, I'd just say that if he worked on making everyone be less being racist and mean, then no one would need necessary evil, but Elden Ring avoids this because, at the time out tarnished arrives back at the lands between, racism is literally a law of reality.

It seems like the only way to change that would be for a new god to write new rules.

I don't know, that's all mostly speculation on my part, but whatever. My point is, Miquella absolutely makes sense as the main antagonist of the dlc, but he is notably not the main antagonist of the base game, nor the story at large.

Personally, I'd argue those titles fall to Morgott and Marika respectively, but I digress.

Miquella is just one link in a long chain of people fighting for a cause they believe in. Really, his actions are no worse than Ranni's, but strangely no one is really as upset about the fact that she literally had Godwin murdered to attain her goals as they are with Miquella doing the same thing to Mogh.

Something interesting that I noticed is that Miquella is actually very similar to Messmer. Whether that was intentional or not is not for me to say, but I do think it's interesting that the oldest demigod and the youngest have a lot in common.

I'll be the first to admit that I'm no Messmer lore expert , but, for example, Messmer is often described as being very compassionate and nice, only taking on the burden of being the face of the hornsent genocide to spare his mother that shame. It's an interesting contradiction, to be sure, and one that is quite similar to how Miquella sheds his humanity to make a brighter future.

Perhaps Messmer is meant, in part, to mirror Miquella to make his seemingly "villainous" turn make more sense.

Again, maybe that's just speculation on my part, but what's important is that Elden Ring stresses again and again that there is no such thing as pure evil. Everyone's a victim in some way.

All that to say, I don't think Miquella is out of character in the dlc. I think everything we learn about him is perfectly in line with his portrayal in the base game.

Alright, it's finally time to talk about the big guy with a little horse.

So, I've seen a lot of people say that Radahn was charmed and used by Miquella, or that Miquella only saw him as a tool, but I really don't think that's true.

Let's take a look at some more of Miquella's dialogue.

"Aspiring Lord of the Old Order. If you have known sin, if you grieve for this world, then yeild the path forward to us. To I, Miquella, and my Promised Consort, Radahn."

Now, I don't know about you, but of Miquella only saw Radahn as a tool, then what's with all the "Yeild the path forward to us," and "To I, Miquella, and my Promised Consort, Radahn."

If he really viewed Radahn as just a means to an end, then why specify the both of them, unless Radahn was always in on Miq's plot?

Also, if Miquella really only wanted a big guy to ride around on and fight for him, why go through all the trouble of making Radahn a promise? Why not just bewitch him from the start and just force him to follow you?

I don't know why Radahn and Malenia fought. Maybe that was part of the vow, if Miquella could grant Radahn a warrior's death, then he'd follow him, or something like that. So maybe my theory isn't totally sound, but I do still think it's just as plausible as the bewitched theory, if not more.

Another thing I've heard people say as evidence of the bewitched theory is that Radahn wouldn't have gone along with it because Leonard wouldn't be with him.

But, like, you guys, that horse is dead. You killed it in your fight with Radahn in the base game. And Radahn is obsessed with warrior's deaths and all that. He probably saw that Leonard was dead, mourned him silently, and even resolved to take take revenge on the one who killed him, which, again, is you.

And, as a side note, Starscourge Radahn did not treat Leonard with any amount of respect. Did we even see the same attack animations. He was pushing him into the ground, standing on him, and definitely not feeding him. Leonard was described as scrawny, but when we see him, he's downright skeletal. And of course Radahn wasn't taking care of him. He was a literal zombie.

So, I don't think Radahn was bewitched. I think he willingly went with Miquella, once his soul was put into Mogh's body.

Miquella, at his core, is compassion without understanding. He feels for the plight of the world and its inhabitants without having the context necessary to understand why they are suffering. It's a very childish outlook, reflected in his design and curse, his outward childlike form representing his nieve understanding of the world.

That's why he can only see godhood as the solution to the suffering. Because it's all he knows. He was an empearyan, after all.

Of course, if he was a little more emotionally intelligent, he'd realize that abandoning everything that made him who he was is a bad thing, but he's not. He can't see past his own status, not in an arrogant way, it's more like he just doesn't know or understand there's an alternative.

He's that theme I mentioned earlier, the pursuit of goals turning you into a monster, personified. I mean he literally leaves his humanity behind. Can't get much more obvious than that.

Well, that's everything I have on Miquella, at least for now. I've just seen so many "Miquella is actually super evil" type posts and videos, and just a general increase in Miquella hate, which maybe is to be expected, but I still think a lot of people missed the point.

If course, everything I've said is subjective, and if Miquella being evil is what makes you like the character, then more power to you.

But if you, like, actively hate Miquella or misunderstand what we're presented in game, then I don't know. I can't stop you, I guess, but maybe I've managed to change your mind. I think the fun of lore hunting in this game is that everyone kinda has their own version of events, it's almost like we're historians debating ancient history. Idk, I just find that cool, so if your interpretation differs from mine, I think that's fine. Just don't be an ass about it, basically.

Tl;dr: if you took a shot every time I started a thought with "now" or "so," you'd be dead.

Okay, that's all, bye.

A brief adendum to this post:

So I've done a bit more thinking, and somehow completely forgot about the fact that Miquella appeared in Caelid after Malenia bloomed, to help the wounded.

This does, at first blush, come off as quite the dick move on Miquella's part, as he didn't think to help his sister, but I do have some thoughts and speculations.

What if he couldn't? Like, he's a small guy, it's not like he could've carried her all the way back himself. Maybe he trusted Finlay (Malenia's gf, it's canon) enough to let her do it. I mean, I guess it depends on how he got to Caelid in the first place, but like how does anyone in this game get anywhere?

No one uses ships as far as I'm aware, and the only transportation we see is like horse or giant drawn carriages, which are already pretty slow. Maybe Finlay asked to carry her back. Maybe Miquella could have used Torrent, but idk. This is all just speculation on my end.

Anyway, I also think this points to my earlier speculation about Miquella's character thematically. He saw only the wounded he needed to help, but ignored the one closest to him in the process. This interpretation lends itself very well to the idea of his childlike, naive ideas of compassion.

Okay, that's really it this time. I'll probably talk about Leda and the others next.

Bye