#strengths lie !!! characters and interpersonal dynamics

[earlyspringtranscendence]

the things that are generally wrong with the volstovic cycle are made (naturally, by virtue of the setting and pov characters) so much more egregious in shadow magic but like. kouje & mamoru are unfortunately still the only prince/retainer dynamic i’ve ever read like nothing else compares. sorry. forever.

[glitter-stained]

Thinking about how some modern comics writers (Tom Taylor) write the batfam and why it doesn't sit right (this post centers around the robins because of their training but some of that reflexion would definitely fit for Barbara and Cass as well.)

The thing with writing a team of people with similar training and strength is you can't take the easy route of "well this one is the smart one! And this one is the flexible one! And this one is the strong one!" .... which is obviously reductive to all of their characters. Obviously, they have interpersonal differences; Dick, being raised as an acrobat, is the most flexible, but that doesn't mean that every single one of these little fuckers doesn't like to bend, twist and somersault to dodge bullets like an annoying worm on a string being flung around in the sky. They're Robins. Obviously, Jason is the bulkiest, but that doesn't mean they don't all go through hardcore conditioning -Tim is only considered "frail" when you put him between Bruce and Jason, this guy would bench-press you any day, come on. (And DC editorial can lie to us about the girls' weights and heights and make them at the limit of ed-territory even though they're doing parkour and hardcore martial arts every day but I know the truth, Steph's strong as hell, homegirl's got bazooka-level guns). Obviously Damian was raised in the League and is proficient in a bunch of martial arts, but they all received training from a bunch of different experts, including, for all of them, the same guy (that they are all so normal and chill about.) Obviously, Tim is the one who used detective work to figure out everyone's identity but you're kidding yourself if you think he's the only intelligent/detective one amongst the robins. Being smart and a detective is a defining part of all of their characterization, and so is being a leader and a strategist. And then of course with that kind of simplified characterization we end up with Steph being "the girl robin" and Damian "the assassin one/stabby one" and Duke "the meta one" (yes this post counts Duke as a Robin. They trained him and also just cause I wanted to. I love him.)

And even if we make an effort and try to dissect it "this one is the detective smart one! And this one is the strategist! and this one is smart in a more techy-way! And this one is the leader! And this one- hey what kind of intelligence do we have left..." obviously doesn't work either. Duke was a exhilarating strategist in WaR already, Jason's strategic work in UTH and detective in Lost Days is thrilling, Damian is a fucking child surgeon (do I need to develop how intelligent that kid is), Dick was the first leader of the Titans and is always doing detective work like, that's an inherent part of his character, Duke was a cute-ass baby doing puzzles and planning to defeat the Riddler himself, Steph literally became Spoiler to stop Cluemaster (girl knows to solve riddles that would make Nygma shit his pants), they've almost all lead a team at some point, etc, etc. All of this is great and cool and a character being great doesn't take away from the skills of another character! Stark contrasts cannot possibly be the only interesting team dynamics, especially since they already have their own teams of contrasting skillset and personalities.

Imo, best robin team-up dynamics is them stepping on eachother's toes with their plans, getting into rapid-fire brainstorming sessions where they're all finishing eachother's sentences, reaching a conclusion and saying it out loud at the same time, one of them having a crazy ass plan and suggesting it to the other and the other saying "i like the way you think" to that person who thinks exactly like them, getting mad at eachother for being stubborn while also being a stubborn little shit, pulling complicated acrobatics together, and just thriving solving a good old complicated mystery with other people who are just as competent and enthusiastic about detective work as them but not a carbon copy, with extremely specific strength and weaknesses and quirks (like Dick's ability to recognise heroin by putting it in his mouth, Damian's uncanny voice imitation ability, etc.)

Of course, this doesn't even begin to touch the family drama, but honestly we get so much family drama angst with no real consequence rn, I'd really love just a robin team-up, relatively low-stakes (aka nothing taking over the city, the world, no past traumas unearthed to haunt them or parental abuse or secret cults etc etc.) Just a very elaborate murder mystery and a good excuse for all the robins to be there and a story that works with their similarities and their potential (both comedic and in terms of plot) rather than erasing it. It would be so much fun!

[ladyluscinia]

Izzy Hands Is Manipulative, But Not That Way

...or I finally finish that long ass meta post about why I love the fucking Navy Plot lol

The Izzy manipulation debate has been really interesting to me pretty much since it started, because I'd see a post arguing he's manipulating Edward and go "No, and he couldn't if he tried" and then the next post would say he sucks at manipulation because he's a blunt fucking instrument and I'd go "Yea- wait. Hmm. No, he can be targeted and tricky as fuck." Which does, on its surface, seem like a contradictory stance, but I swear it works.

Because the thing with Izzy - and this is such a fun thing imo - is there are two core types of manipulation that characters engage in, and Izzy fucking sucks at the one you expect his style of antagonist to focus on. But he's scarily good at the other.

Long meta under the cut, so get comfy.

...

From his role under Edward to the protagonist vs antagonist dynamic setup to his introduction scenes, Izzy is very much invoking the conniving second in command. We know this character from other media. He doesn't have the full power he wants so he's constantly scheming to get it. He can't or won't challenge his boss for some reason, so he settles for being the devil on their shoulder or working behind their back. He's the voice constantly ready to inflame insecurities and turn relationship cracks into chasms, and usually he's lying constantly to do so. His fingerprints are all over his boss's problems up to the moment they show some weakness, and then their loyal second goes right for the backstab. He is THE ambitious manipulator. The shady advisor. The snake.

And then you actually look at Izzy and he is not that guy. In fact, it's a testament to the strength of Edward's character arc how much his evil little henchman is not causing his problems.

So - Izzy and manipulation:

Izzy Can't Convince People To Do Things

Like. He really can't.

This interpersonal struggle is fairly fundamental to his character. And moreover, it's a skill that Izzy is intensely aware that he lacks, so usually he doesn't even try.

In his first episode he walks right up to Buttons and just straight up asks him for the information on his party. He doesn't even resolve to steal the hostages until he realizes that Stede has lost them in the bush already, and Izzy obtains them by buying them. When Stede confronts him they end up splitting the pair in a very above-board negotiation and he pretty much just goes with what Stede suggests.

Then in 1x03, people make a big deal of Izzy "manipulating" Edward by not clarifying that Stede didn't know who he was when he turned down the invite, but kind of importantly he repeats the damning line of the conversation faithfully. If he was going to lie, then why not lie? Why even go see Stede at all? And, if he didn't want Stede dead until after the conversation (understandable, tbh, since "Iggy" was stab-worthy), surely he could invent a better insult to rile Edward up. It makes his omission hit more like being bitchy about Stede not recognizing the obvious - namely that Izzy Hands works for Blackbeard and literally everyone knows this - than a slander campaign to get him killed. And once we properly meet Izzy and Edward in 1x04, Izzy's inability to manipulate becomes his main struggle.

Izzy's a blunt and direct person. He leans on authority bestowed by Blackbeard to take control of situations, playing the role he's supposed to play, and without it he lacks a Plan B. In 1x04 he doesn't have any authority over Edward, so his efforts to get him to take the danger of the Spanish seriously amount to "Well as bored as you might be, if you don't make a decision soon we're gonna fucking die." And this is true! There might be a very subconscious attempt at manipulation in his resignation speech before the "That's Blackbeard. I'm Stede, remember?" line - of the piss him off to get him to get his shit together variety - but Edward literally makes a joke out of it so not exactly effective.

And once Edward stops giving Izzy authority in general, his plan to make Lucius do stuff is still just... brute force. Which works at first when Lucius doesn't realize that Izzy's on his own now, and stops working as soon as Fang breaks ranks. His last ditch blackmail attempt isn't manipulative either - he just plans to tell the truth to Pete and assumes he'll be pissed about it. My guy loses a fight over the pirate equivalent of making an uppity employee clean the coffee maker while the boss is out. Not only does he fail to manipulate the crew in a conniving antagonist way... he doesn't even try.

I mean, the only time he (somewhat) succeeds in talking someone into things is 1x06. Getting Edward to agree to killing Stede isn't really manipulation - Izzy gets Fang and Ivan to back him in a very straightforward way because they all actually do have a stake in this - but he's passably able to push Stede to go through with the fuckery via fake compliments. It's not exactly high level work, though. Stede being vulnerable to ego-stroking / dares is pretty obvious.

So what is Izzy good at?

Well, if you can't make people do anything other than what they were going to do in the first place, you might as well lean into that.

...

Izzy Manipulates Situations, Not People

Situational manipulation is one of those fictional tropes that rarely can happen in real life, but there's not much resemblance because real life rarely gives you all the building blocks for a proper gambit and lets you loose. Too many factors. In narratives, though? It becomes one of my favorite ways of having a character be clever.

And before I get into this too much, a really fun sidenote - I think Izzy does situational manipulation more like the way protagonists do it. See, antagonists are usually emotionally and situationally manipulative (ex: provoking the hero to lash out and using it to frame them for a bigger crime), but it's not a good look when your hero drives the target to do something bad and then punishes them for it. So heroes lean on stuff like Batman Gambits - where the lynchpin of the scheme is the target fucking themselves over by behaving completely in character. They've written Izzy so ineffective at emotional manipulation that he pretty much has to rely on other characters' flaws or histories to cause problems, which has a very similar result. And it's wild.

...

Going back to the 1x03 confrontation in Jackie's bar, Izzy doesn't really do anything abnormal in how he conducts himself, but people are picking up on an agenda for a reason. Namely, the whole damn conversation quickly turns into a trap, and Izzy fully sits back and watches Stede spring it from sheer idiocy.

There's no indication that when Izzy walked up he wasn't going to carry out his task with all the bitchy professionalism expected of him, while probably hoping that Stede would eventually stick his foot in his mouth without Izzy's help (assuming he's the kind of idiot Izzy thinks he is). His first section of this conversation is nearly polite:

Izzy (about the Nose Jar): "I have a few colleagues in there." Stede: "Ugh. You again." Geraldo: "Mr. Hands, welcome. It's been a while." Izzy: "(To Geraldo) Yeah, because I hate this fucking place. (To Stede) But for some inexplicable reason, my boss would like a word with you. Bonnet."

It's not until Stede starts talking that I think Izzy clues in that Stede doesn't actually know who his boss is. He didn't introduce himself until the literal last second of their 1x02 interaction, so it wasn't obvious Stede wasn't literally bolting into the forest in horrified realization.

And Stede? He goes hard on being a bitch right out the gate. Brushes Izzy off, tells him to "get in line", calls him the wrong name, says he doesn't care who Izzy is...

Izzy so far has met Stede in a public place, in front of people who clearly treat Izzy with respect and fear. He doesn't bring up their previous interaction, Stede does. He doesn't even goad Stede beyond existing. He corrects him on his name, and watches it not register in the slightest. The next line is the clincher:

Izzy (slightly incredulous): "So I'll tell my Captain that you're declining then, yeah?"

As Izzy is speaking the conversation becomes a trap - he chooses a reasonable way to refer to Edward that isn't "Blackbeard" and waits to see if Stede will make this worse. The jump from "no I'm busy" to "tell him he has terrible taste in flunkies and he can go suck eggs in Hell" is all Stede, completely ignoring context clues as Geraldo stares on in horror. Hell, Jackie only refrains from later de-nosing Stede on the spot because Geraldo knows what's up, and Stede still doesn't pick up on the fact he should maybe be asking some questions (though I'll give him the knife was distracting).

Izzy returns to the ship, quotes Stede directly for his damning line, and waits to see what Edward will do with it. It's not good behavior on his part (and if he could have seen the future he might have tried worse), but switching mid-conversation to offering Stede an opportunity to fuck himself over is a very different mindset than simply lying to / provoking Stede or Edward to get what he wants. He's mostly being petty.

Stede did insult Edward of his own volition, after all, and just because Izzy fudges the truth to hide he didn't know he was insulting Blackbeard instead of just Izzy and a random stranger doesn't change that. All Izzy did to "escalate" that conversation was give Stede a second opening to do so himself.

But there is a far better example of Izzy masterfully manipulating a situation than this in-the-moment bit of pettiness, so let's move onto my favorite bit... explaining in extensive and slightly awestruck detail why the Navy plot. Fucking. Rules. Because it does. Ready?

...

How to Mastermind the Decisive Removal of One Stupid Fucking Stede Bonnet Over Drinks

Ahem. The Navy plot. Masterclass in intimate betrayal. Izzy's biggest escalation in the total collapse of Edward and Izzy's relationship, but also a completely fucking fascinating glimpse into whatever tangled web of codependency they've got going on, because Edward isn't even mad after 1x09. This wordcount is going to be insane enough without me getting into the Blackhands relationship connotations, so I will... attempt... to stick to breaking down the actual scheme.

And what a scheme it was.

Let's start at the beginning. Jack showing up to lure them into the trap at the start of 1x08? Nope, earlier. Izzy getting kicked off the ship and going to Jackie at the end of 1x06? Further back. Edward proposing the "kill Stede" plan at the end of 1x04, which is the domino that starts all this, right? Closer, but still no.

Izzy's first appearance on screen is in episode 1x02, and that episode is where the seeds of the Navy plot are first planted. See, during Stede's confrontation with Izzy, both of the hostages chime in:

Hostage 1 (Wellington): "Believe him, he's quite insane." Hostage 2 (Hornberry): "He does have the eyes of a madman. Sorry, you do."

Wellington says his line in a tone of voice that clearly indicates a story to tell, and it should also be noted that he is the same one who earlier jumped at the chance to tell the tribe chief about Stede murdering their captain - Nigel. And he's the one that Izzy leaves with, in a sour mood and wanting information about this "Stede Bonnet" character.

When Izzy later reaches out to the Navy, it's no coincidence that he finds Chauncey. He's known since right after their first meeting that Stede was directly responsible for the murder of an Admiral's brother and that the English Navy would know soon enough, since he was literally about to ransom a hostage back to them who would tell the story. And he filed that information away until it was useful or relevant like a clever pirate should.

Moving on to Jackie's bar in 1x03, Izzy gets more potentially useful observations / inspiration. Jackie is actually the first person in the series to make a deal with a naval power. Izzy and crew track the Revenge to the Spanish warship, which means they must see Geraldo sold out Stede to them. Izzy isn't stupid. He knows Geraldo and Spanish Jackie, knows that she's the brains and brawn behind this deal, and has seen enough of Stede that he'd absolutely believe that he did something to get Jackie pissed enough to plot his murder. File away Jackie wants Stede dead and details of how she nearly succeeded in offing him for later.

Izzy spends 1x05 up to the fuckery demonstration observing Stede's crew while waiting for Edward to pull the trigger. I definitely want to note the scene where they interrogate the Frenchman at the beginning of 1x05, because Izzy is staring directly at Stede as he leans away from Edward threatening violence (we know this will later be in his love montage so not actually a turn off, lol, but like... it looked like one). His opinion of the crew is that they like to fuck around without structure (1x05 during the party), probably that they enjoy more standard pirate levels of violence (not shown directly since they are kept out of the 1x05 raid, but fairly obvious), and that they are really easily awestruck by the chance to hear "real pirates" tell charismatic stories (1x06 ghost story).

Any of that sounding like someone we know?

And now to go back to Izzy in 1x06, when he gets sick of Edward being cagey about the plan to kill Stede and decides to "make" him stop stalling, he's straightforward again. Getting Ivan and Fang to back him isn't emotionally manipulative, but it does give him weight in the conversation. They are the ones who bring up the whole "love of a pet makes a man weak" thing, and they do it in the context of calling out hypocrisy. Izzy knows the standards Edward holds his crew to. He lets them convince Edward it's time.

Taking the chance to suggest Stede try a fuckery is a strong blend of situational and emotional manipulation, and later challenging him to a formal duel knowing he'd be overconfident enough to accept is more situational again. Even the terms of the duel are designed to take advantage of the situation. And then Izzy loses in the most comedy way possible, Edward lets him get banished, and Izzy decides that if he was ok with just sending Stede Bonnet on his way to fuck-off before... he's fucking gonna kill him now.

My guy is not a creative thinker, but he's definitely a logistical one. And as he rows away from that ship, all the pieces fall into place.

First, Spanish Jackie. Who listens to him bemoan his relationship woes because she likes him (Izzy gets Jackie in the divorce). Who wants Stede dead and has the clout to summon and deal with a distasteful ally - Chauncey. Together, they concoct an arrangement where a trap will be set and Chauncey gets Stede and only Stede. This isn't a tip-off or a free-for-all. Stede comes from Chauncey's world and they are sending him back. Permanently.

Then it's time for the trap itself, which needs to do two things: get the Revenge somewhere that Chauncey can corner it, and get Edward out of there. And Izzy? Izzy knows Edward. Knows there's one particular person in his past that will have no trouble integrating with the crew, getting Edward to act more like a pirate than a gentleman, and who happens to have a great ambush location on hand.

I've said this before but I'm gonna say it again - I don't think outside characters realize how hard and fast Edward is falling for Stede. The BlackBonnet bonding moments happen almost exclusively when they are alone. The place Izzy dramatically fails to manipulate the situation is not having the evidence he would need to predict Edward going back for Stede. He (and Jack) both think that a precise wedge between BlackBonnet - one that Jack delivers near flawlessly by playing into real issues - will be enough to remind Edward that Stede isn't his people. This isn't a plan to murder the love of Edward's life while his back is turned. It's a plan to get rid of Stede, and remind Edward why he was on board with doing that in the first place. "That's fair," Izzy says about a punch to the face.

Instead, Izzy's plot accidentally backs Edward into a corner and forces him to publicly pull a grand-gesture relationship level-up that he was not emotionally ready for, and the fallout from that explosion is way worse than any of our conspirators were counting on.

Still... you gotta admit. It was a really good plan.

[goingbuggy]

I loved your idea for film blue & reading your response reminded me of a theory I have about the shuggy dynamic & since I love your meta I'd love your take.

Do you think Oda is trying to imply that the Shuggy fallout is not only a personal loss, but a loss for the world as a whole? There's a lot of talk lately about Shanks' personal failings with interpersonal skills & coincidentally that's where Buggy's strength lies.

In fact the Shuggy dynamic is sort of written in a way where they make up for what the others lack so I wonder if the miscommunication with them is also supposed to make us believe the world would've been better had they stuck together?

Buggy was the first of the two to recognize the danger with Blackbeard and it's when he isn't in Shanks life anymore that Blackbeard was able to hurt him. Buggy didn't rise up in the world until way later in life despite his charisma, but Shanks did fairly quickly. We can see how Buggy being a warlord/emperor is setting into motion big events at a seemingly quicker pace than Shanks ever did (intentional or not). Imagine if they had set out as co leaders way back when? Would Shanks be as passive or would Buggy's ambition & anxiety push him to be more proactive in whatever it is he's supposed to do on behalf of Roger.

With the anime finally animating the loguetown breakup/fallout and to be reminded of Buggy being pushed to reclaim his dreams because Shanks is also heading for the One Piece I'm starting to think Oda is writing them as a delayed destiny type of thing. That they were always supposed to carry on Roger's will together & the biggest mistake of the past is anyone thinking only one of Roger's apprentices was supposed to be his heir so to speak. They were supposed to be a team not rivals.

Last thing I want to bring up is how Luffy keeps being put in Shanks' shoes when it comes to his crew except where Shanks failed Luffy didn't. The Usopp conflict in Water 7/Eneis Lobby especially plays like a 2nd Shanks & Buggy fall out to me.

Not only are Buggy & Usopp both extremely insecure in their own power, but they too interpreted their friends words/actions as a slap to the face. However Luffy was able & willing to do the work to close the distance between his Nakama & resolve the miscommunication while Shanks just...gave up essentially. Being not only an example of how Luffy can do what Shanks never could, but also the new generation succeeding where the last one failed. I can't help but think when we learn Shanks & Buggy's history Oda intends for us to think about this parallel and view it as mistake.

So I wouldn't be surprised if we got at least one more reunion between Shuggy & when we do they come to this realization that they have a chance to correct the mistakes of the past and team up for something significant in terms of plot. That their destiny's lie with eachother not against.

thoughts?

I think this is the first time someone has sent me an ask that's not anonymous. This made me really happy, so thank you, and hi!

Is "I agree and disagree" a proper answer? I don't know. I think you're right in that the "evolved" (emotionally mature, post character-growth) versions of Shanks and Buggy could have accomplished a lot together. But that's just it -- in order to evolve, you have to start somewhere. It's like expecting Luffy to still be able to protect his crew the way he does now without going through the tragedy at Sabaody and Marineford. Shanks and Buggy were always fated to part, because they needed to grow separately to meet back up again as true and equal counterparts. To change, you've got to experience things that make you realize you need to change.

I think there is a world where Buggy would've followed Shanks and been on his crew, but in that world, he also would've never addressed the root of his problem: his own insecurity. He needed to go out on his own to find himself. "Would Shanks be as passive?" "Would Buggy's ambition and anxiety push him to be more proactive in whatever it is he's supposed to do on behalf of Roger?" The questions you're asking are insightful and fun thought experiments, but in my opinion, a narrative impossibility. Loguetown Buggy would never follow a Shanks that fell back on Laughtale, and Loguetown Shanks will always prioritize his idea of the "greater good." So when you say the world would be better "had they stuck together," I half-disagree, because I don't think this hypothetical world could ever exist. (Also, from an author's standpoint, it feels like cheating your way to the end without earning it -- bypassing all the juicy stuff about character writing, like the internal and external conflicts which push characters to change.)

However, the idea that they're destined to carry on Roger's legacy together is such a great idea -- I love that! It warms my heart. I've always viewed Roger's will as something split between Buggy and Luffy, but what you proposed is something I can totally get behind. And I could 100% see Oda going in that direction.

[letstalkwhump]

Let's Talk Whump

Welcome to Let’s Talk Whump, a series of interviews that spotlight the amazing people in our whump community! I’m Malice and I’ll be your host today. 

Here today to talk all things whumpy is the fabulous @wildfaewhump!

Welcome to Let’s Talk Whump! Let’s start with a fact or two about yourself!

Hello! I'm Vic, and when I'm not inflicting agony, I am a professional musician! I've been gigging professionally for about 12 years and I absolutely love it. Music is my lifelong love and I am so grateful to be able to make it such a big part of my life. 

And onto the good stuff! What does whump mean to you? 

To me, whump is a mechanism of catharsis, both for creator and reader. The huge, heavy emotions and terrible events our characters endure offer a safe way for us to explore those emotions. 

It's also just a whole lot of fun. Who could say no to seeing a beloved character writhing in pain? 

And how did you find the whump community? What made you want to join?

I found the term "whump" through fandom! The fics I liked were increasingly labelled with it, and from there a bit of tag scrolling led me to the OC whump community. I realized that people were *sharing their writing* and it was all over for me, I was hooked. I made a whump sideblog and started (terrified) to tell the story of a captured fae. Shoutout to @clockworknightmares, who was one of the first people to find my early pieces and introduced me to the heady dopamine of getting an ask! I've been here ever since, and I am so grateful to all the wonderful people who make this community such a vibrant oasis of creativity and shared passion. 

Do you think your view on whump has changed since you first discovered it?

I have certainly had my eyes opened to a whole host of new experiences! As far as tropes and whump style go, lately I find that I'm drawn to more interpersonal-style whump, whereas when I started I was doing a lot more societal and outside forces whump. I love both types! 

And your favourite whump trope? 

WING WHUMP. ahem. I mean: I love nonhuman whump a normal amount… 

Other abiding faves include: whipping, impalement, really fucked up power dynamics, stalking, recorded whump, ooh and epistolary style writing!

Winged whump is so underrated! Do you mind sharing a favourite piece you've written? 

This piece holds a special place in my heart. It's the third in a five-piece arc, and they're all linked at the top of each piece. In this arc, Iesin and Talvos are separated by the wreckage of a landslide, and in the midst of this devastation experience kindness instead of hate and rejection. Specifically, in this piece Talvos hears a truth-tale spoken to the stars about him. People in the area he grew up believe that telling stories of each other will carry their loved one's memory to the stars, to be held there forever. Having been ostracized by humans for so long because of his mate Iesin, he has lost that access to his beliefs and his community, but this piece gives it back to him. 

Another favorite of mine is this Lourdes piece. One of my strongest writing devices is to take a metaphor (here, maple trees and their syrup) and see how seamlessly I can weave it through an entire piece. I did a pretty good job of it here, I dare say. 

I love the Lourdes piece. The vibes are delicious! Do you mind sharing your writing routine?

Here's where I wish I was more consistent. I would love to have a writing routine, but my schedule doesn't allow for it at present. 99% of my writing is done on my phone in snatched moments between other responsibilities, but when I do get the chance to sit down and take my time, my favorite way to write is to take a long morning at a coffee shop and just let myself flow. 

And do you find that somethings are easier for you to write than others?

My writing strengths lie in pretty prose, extended metaphors, and conveying emotion. I like to think I'm good at catching a reader up in the flow of a piece. Now, trying to write more than three or so people in a room? Hard! Too many limbs and hands and voices to manage! 

Give us a sneak peak! Is there anything you're working on at the moment? 

I am rotating Lourdes, my Romantic Boxie, in my mind like their own special microwave right now. They are. So fucked up. I'm finishing up concert season irl so I don't quite have time to write yet, but this summer I hope to make some good progress on all of my current series! 

Do you have a joke or pun you would like to share to spread some smiles today?

How about a picture of my basset puppy! 

He’s so cute! Give him a hug from me! Is there any writing advice you’d like to share?

Read like a writer. Read as much as you can, and look at the mechanisms of what you read. What writing devices does this author re-use? What is it about their prose style that draws you in? What makes this author's characterization stronger than that one's? The more you read, the more you pay attention to what works and doesn't work in writing you encounter, the more you hone your own craft.

Shout out time for your favourite writing/whump blogs, bffs or people who've inspired you. 

Oh goodness there are so many wonderful whump blogs! I know I'll forget some. @for-the-love-of-angst, @ashintheairlikesnow, @clockworknightmares, @justplainwhump, @just-horrible-things, @highwaywhump, @flowersarefreetherapy, @caramelis, @pigeonwhumps, @redwingedwhump, @tormentum-ab-intra, and so many more! 

Finally, is there anything you'd like to add?

Be kind. It's the hardest and most worthwhile thing in the world to do, but simple kindness can change everything.

Thank you for joining us, @wildfaewhump !

And to all you folks at home, have a whump-derful day!

[bpmprocesssolutions]

Exploring Pre-Employment Testing: Seven Innovative Strategies

Pre-employment testing stands as a pivotal step in the hiring process, offering insights into a candidate's suitability for a role. Here, we delve into seven effective pre-employment testing methods and best practices for hiring managers.

Effective Pre-Employment Testing: Definitions and Examples

Integrity Test: This test evaluates a candidate's honesty and accountability in the workplace. It includes questions on workplace ethics to assess adherence to company policies and confidentiality agreements.

Job Knowledge Test: Assessing a candidate's understanding of specific technical skills and industry topics essential for the job role. For instance, a digital marketer's knowledge of marketing concepts like the marketing funnel or changes in marketing trends.

Skill Test: Focuses on soft skills or interpersonal abilities crucial for job performance. Candidates rate their proficiency in areas such as multitasking, attention to detail, or problem-solving.

Physical Strength Test: Applicable in roles requiring physical exertion or heavy lifting, like firefighters or maintenance personnel.

Personality Test: Evaluates how well a candidate's personality aligns with the job position and existing team dynamics. For instance, assessing extraversion for a sales role.

Emotional Intelligence Test: Measures a candidate's ability to build relationships and exhibit traits like empathy and leadership.

Cognitive Ability Test: Assesses a candidate's mental capacity and problem-solving skills, such as numerical reasoning.

Best Practices for Hiring Managers

Compliance: Ensure tests adhere to anti-discrimination laws and regulations. Review testing materials for any potential bias.

Validity: Choose tests accredited by reputable organizations to ensure credibility.

Reliability: Conduct multiple practice tests to gauge consistency and accuracy in evaluating candidates.

Understanding Employment Tests

While job-related skills are crucial, personality traits and soft skills also play a significant role in hiring decisions. In-person interviews and observations provide insights into a candidate's character and compatibility with the workplace culture.

FAQs About Employment Testing

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[themovieblogonline]

A Bit of Light Review: A Commendable Cinematic Experience

A Bit of Light is a cinematic tapestry woven from the threads of human fragility, redemption, and the complex dynamics of familial ties. Directed by Stephen Moyer and penned by Rebecca Callard, whose stage play of the same name serves as the foundation, the film explores the gritty reality of life’s challenges through the lens of its protagonist, Ella, portrayed with visceral vulnerability by Anna Paquin. This narrative is not for the faint-hearted, but rather, for those who appreciate cinema that delves into the essence of what it means to be profoundly human. https://www.youtube.com/watch?v=m6I_zfwvk_w The story unfolds with Ella, a character almost hitting the fourth decade of her life, finding herself in the throes of upheaval. Her journey of battling sobriety leads her to relinquish temporary custody of her daughters to her ex-husband, Joseph (Youssef Kerkour), and his new partner, Bethan (Pippa Bennett-Warner). The desperation of her situation compels her to move back with her father, Alan (Ray Winstone), marking the beginning of an emotional odyssey into the past, present, and murky waters of interpersonal relationships. The Good: The casting is a stroke of brilliance, with each actor bringing depth and authenticity to their roles. Anna Paquin shines as Ella, encapsulating the torturous journey of a woman grappling with the demons of addiction, the anguish of motherhood lost, and the relentless pursuit of redemption. Ray Winstone, as Alan, delivers a stellar performance that oscillates between the hard exterior of a disillusioned father and the soft underbelly of paternal love. Youssef Kerkour and Pippa Bennett-Warner complement this ensemble with their nuanced portrayals. They offer a glimpse into the complexities of moving on and forging new relationships amidst the remnants of the old. A Bit of Light doesn’t shy away from the mundanities of everyday life, choosing to shine a light on them. Moyer’s direction employs a restrained palette, grounding the film in realism that is both stark and subtly beautiful. The cinematography is commendable, capturing the intimacy of spaces and the stifling atmosphere of a local pub. These settings become characters in their own right, mirroring the internal landscapes of the protagonists. The Bad: However, the film is not without its shortcomings. At times, the narrative pace meanders, getting lost in its contemplation. The film's character exploration sometimes slows down the story. There are moments when the dialogue, striving for authenticity, lapses into mundanity. It lacks the poetic punch or insight that such a dense emotional landscape warrants. The movie tries to tie up its threads, but some plot points feel rushed, leaving viewers wanting more. The film explores redemption in dark circumstances. Ella's journey reflects resilience, self-confrontation, and second chances. This thematic exploration resonates deeply, echoing long after the credits roll. The relationship dynamics presented in the film, particularly between Ella and Alan, are crafted with care. They weave a tapestry of past grievances, unspoken love, and the arduous journey towards mutual understanding. Stellar performances enrich the interplay between characters, adding layers to the narrative. The score and soundtrack of the film deserve a mention, perfectly accentuating the emotional landscape without overwhelming it. The choice of music is both poignant and evocative, enhancing key moments and elevating the overall experience. Overall: A Bit of Light is a commendable cinematic piece. It bravely tackles themes of addiction, familial bonds, and the quest for redemption. Its strengths lie in its performances, character development, and thematic depth. However, its pacing issues and occasional lapses into narrative and dialogue mundanities prevent it from reaching its full potential. This film is a decent watch for those who enjoy human-centric stories with depth. Read the full article

[lonepiper5758]

Royai Week 2021 - Day 5

Illicit Affairs

[Song prompt] illicit affairs, taylor swift

An essay exploring the ways in which Royai is not described by this song.

AN - I completely respect both the inclusion of 'Illicit Affairs' as the song prompt for Royai Week 2021, and the method in which it was selected by the Mods. When I first listened to it, and then listened to it again, I wanted to write something inspired by it. However it failed to give me any inspiration to write creatively about Royai. Instead what it inspired was the urge to write a critique of why this song is not reflective of Royai.

Please don't think that I am having a go at anyone who likes this song or feels that it gives off a good Royai vibe. I'm just responding to the prompt in the way that it prompted me to do so.

That 'Illicit Affairs' by Taylor Swift is a good song is not being disputed, as reviewed by Angie Martoccio in a Rolling Stone article -

"And on “Illicit Affairs,” she (Taylor Swift) expertly packs a tale of infidelity into just a few short verses, complete with abandoned perfume, secret language, and the lies that seamlessly stitch it all together."

Any song that includes the lyric 'A dwindling, mercurial high' has got to be given credit. It's musically beautiful and lyrically powerful. But is it Royai?

One of the intriguing things about Royai is that it's such a subtly expressed relationship within canon. We know for sure that Mustang and Hawkeye have known each other for a long time, and have a profound understanding of each other communicating at times with a mere glance. They share a deep trust of, and commitment to each other to the extent of risking great physical harm and personal hardship for each other. And they know each other well enough, despite their relative rankings within the military, to blow up at each other occasionally. Their deep care and love for each other is evident.

Extrapolating beyond what is explicitly expressed in canon is what fandom exists for, and many within the fan community see Mustang and Hawkeye’s relationship as also being a sexual one. Whether you see their relationship as expressing itself sexually or not does not change the premise that this song isn’t truly Royai.

'Illicit Affairs' contains some images which are no doubt reflective of Royai, a shared secret code language, and a relationship that has many details which are kept hidden. This gives the song a nice Royai vibe. However that vibe is superficial, and whether you hold to the more canon defensible position that Royai is a profoundly loving and loyal relationship with no sex, or that it is full of lustful moaning and sweaty bonking, either way the overarching sentiment of this song is far from expressing the nature of our beautiful ship.

There are three significant points at which this song not only fails to express Royai, it actually expresses the antithesis of Royai.

Firstly, Royai is not an illicit affair.

‘Illicit’ in this sense can have two meanings, illegal and relating to infidelity.

As for Royai being illegal, we all know, Arakawa cites the pesky ‘fraternization laws’ of the Amestrian Military as the reason why Mustang and Hawkeye can't be together in a physical relationship. If you take the view that Royai is a non-physical relationship, then there is no illegality and the song misses the mark.

The only place the song lands is if you hold to the idea of a sexual relationship, in which case Royai would transgress the ethics and rules of the military. It could also be argued that Mustang and Hawkeye have broken faith with their own morals as they would have sworn to be bound by those rules, and have broken that oath.

This is a pretty technical application of the term 'illicit affair’ and not really in keeping with the feel of the song, which is far more about interpersonal relationships than the keeping of rules and institutional ethics.

To quote the Rolling Stone article again 'Illicit Affair' is a 'tale of infidelity', and that's the meaning the word 'affair' evokes; infidelity, betrayal, adultery. An ‘illicit affair’ is most readily going to be understood as a relationship in which the participants are being unfaithful to an existing partner, in order to secretly be with a new partner.

This is the first point at which this song expresses a relationship that is the antithesis of Royai. There is absolutely no infidelity in the relationship between Mustang and Hawkeye. Neither of them has a significant other who’s trust they are betraying in order to be together. Rather, Royai is all about fidelity. The loyalty and trust these two show towards each other is the absolute bedrock of their relationship. If you take the view that their relationship is non-physical then it is their fidelity to each other that both defines and expresses their relationship. So to say that Royai is an ‘illicit affair’ is to completely mischaracterize their relationship.

Secondly, the relationship in this song is dying, as illustrated in the lines -

It's born from just one single glance

But it dies, and it dies, and it dies

A million little times

This is the constant theme of the lyrics from the outset, that what started as a wonderful thing is corrupting and dying.

Again this is the complete opposite of Royai. Exactly when the ship started is a subject for debate. Whether you hold that Royai started pre-canon, during Ishval or sometime soon after, there is no time at which we see it diminishing in its strength, let alone dying. Far from Royai diminishing over the course of canon, their relationship just gets stronger and closer. To illustrate two images from the Manga.

Chp 58

Above is the earliest point in the narrative that we see Hawkeye and Mustang together. Following is one of the last times. These two images indicate a relationship that is coming together and becoming stronger and more dynamic. Not one that is dying a million little times.

Chp 108

Thirdly, the last lines of the song pose some difficulty in accepting this as a Royai song.

And you know damn well For you I would ruin myself A million little times

If you interpret ‘ruin myself’ as to risk physical injury or endure a harmful situation for the other, then this is a plausible Royai sentiment. However times such as Hawkeye’s preparedness to shoot Mustang if he destroyed Envy, or Mustang’s acceptance of Hawkeye’s death in refusing to perform human transmutation, show both understand that holding to their shared sense of the right thing to do is paramount. If they betray those truths they hold most deeply, or ‘ruin’ themselves, then they will have ultimately betrayed each other and their relationship. So in that sense they would not ‘ruin’ themselves for the other because to do so would be the end of themselves and their relationship.

So while this is a really cool song, Royai’s qualities of steadfast loyalty, longevity and the character of the relationship being intrinsically tied to the characters of Mustang and Hawkeye mean that Royai is far from being an ‘Illicit Affair’

____________________________________

Resources

1. “The Godforsaken Mess of Taylor Swift’s ‘Illicit Affairs’”

By Angie Martoccio

https://www.rollingstone.com/music/music-features/taylor-swift-illicit-affairs-1033805/

2. Song Lyrics via LyricFind

Make sure nobody sees you leave Hood over your head Keep your eyes down Tell your friends you're out for a run You'll be flushed when you return Take the road less traveled by Tell yourself you can always stop What started in beautiful rooms Ends with meetings in parking lots

And that's the thing about illicit affairs And clandestine meetings And longing stares It's born from just one single glance But it dies, and it dies, and it dies A million little times

Leave the perfume on the shelf That you picked out just for him So you leave no trace behind Like you don't even exist Take the words for what they are A dwindling, mercurial high A drug that only worked The first few hundred times

And that's the thing about illicit affairs And clandestine meetings And stolen stares They show their truth one single time But they lie, and they lie, and they lie A billion little times

And you wanna scream Don't call me kid Don't call me baby Look at this godforsaken mess that you made me You showed me colors you know I can't see with anyone else

Don't call me kid Don't call me baby Look at this idiotic fool that you made me You taught me a secret language I can't speak with anyone else And you know damn well For you I would ruin myself A million little times

Songwriters: Jack Michael Antonoff / Taylor A. Swift

illicit affairs lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC

3. Fullmetal Alchemist Manga - Images from Chp 58 and Chp 108

[wyslyyzr]

HOW DID I MISS THE FIRST LISS MEME ROFLMAO do it. I dare you. I double dog dare you.

◈ for a first kiss between our muses.  |  @sebastianshaw

through the motions of life, erik has always tried to be decisive. it is a change from the quivering and persecuted child he was, but even then, max had ground nails into knives, and on more than one occasion, decided he would die to kill his oppressors, thwarted only by misstep. he prides himself on his strengths, but there is one distinct category he's had a tumultuous time with: interpersonal relationships. they were often elusive at worst, and complicated at best; his methods were disavowed but he was loved, or he was not loved and was feared, or he was precisely asocial to the point of withdrawal. it was always a struggle, and erik's loneliness was silent, tucked away beneath his breast bone with the rest of his pain he had no desire to aerate.

he doesn't particularly like sebastian shaw, but he tolerates him as demanded or requested by those around him that he respects more, which allows for a subsistence of social dynamic he wished he could simply scorch to nothingness. shaw is oppressively annoying, but erik suspects even if he could train himself to offer minimal reactions, shaw might not retract--his interest ran a bit deeper than mere needling, though erik could not quite deduce what it was that interested shaw. his strength or convictions? maybe, but it was difficult to imagine sebastian approved of how he used them--he'd almost made that clear already. erik simply pretends that isn't there, that he can exist in relative peace, though he feels sebastian's eyes on him rather consistently.

this is a quiet moment, one erik relishes, even if it's beside someone like sebastian shaw. he offers ambivalent reactions, responses, a neutrality meant not to reveal his hand or thoughts, but it would be a lie to claim he didn't enjoy this, at least; the sprawling scenic view of high risen paths and low valleys of clear water, the refracting light from the falling sun, the subtle breeze that tickled his throat and forearms and hands, that lazily tangled in his hair.

when shaw gestures, albeit vaguely, to the ink stretched across his bare forearm, erik's brow sets in clear annoyance, a sharpness narrowing his eyes. sebastian lifts a finger to tut, oh, please, erik, i am not mocking you. he watches shaw fold a leg over the knee, expecting a verbal display of stupidity, or at least, something that would evoke a tremor of rage, but to his surprise, it doesn't come.

shaw mumbles in a way that seems deliberate, like he was sharing exactly what he meant to, a storybook that eliminated any opportunity for vulnerability--like if he said what he meant in an exact tone, it couldn't possibly sound like something that was about him, something that made him less than impervious and grandiose. when he speaks, its of his father, of an impoverished childhood, though the details are deliberately obscured. perhaps a brusque and narrow comparison to what erik endured, but perhaps not done maliciously.

this once, at least.

the bars of tendon in erik's wrist flex as his fingers spider about the rim of his offered glass of champagne, and the taste is fragrantly sweet. he'd observed the bottle had been appropriately stamped with a kosher seal, and wondered if that had been intentional, too, or if shaw had deferred to his misconstrued idea of what exactly kosher meant. that was fine by erik, either way; he hadn't had a good glass of wine or champagne since passover. see, i am not quite the privileged lout you seem to think i am, erik.

erik rolls his eyes, though a bud of amusement burrows into the side of his cheek, pressing a soft line beside his lip. ' oh, believe you me, shaw, i still think that of you. ' he stands from his seat, the sunlight touching his white clothes in such a way that it made erik look otherworldly, illuminating his pale hair, his draped shawl, the tight fit of his long legs. ' i'm unsure what your motivation is for sharing such knowledge with me, ' erik begins, opening his hand in offering to take shaw's emptied cup, ' as it would be out of character to think of you doing anything without an ulterior motive, ' he raises his brows at shaw, though the gesture is almost playful, ' but.. regardless, i appreciate that it was shared. ' shaw rolls his hand on the ball joint of his wrist, flicking his fingers in a dismissive manner. i have servants for that. so erik drops his hand, and shaw rises from his seat in tandem, electing to take erik's emptied glass himself. erik watches him set the pair aside on a small, cherry-oak polished end table that bore nothing else but what looked to be a cigar box. take it as a display of good faith.

' you do nothing in good faith. '

quite untrue, and such an unyielding accusation. you think so low of me. ' is that so? give me an example of your good faith. ' when shaw staggers to an idle, searching for something that would appease magneto, erik almost laughs in his face. ' i did not think so. ' shaw reaches for his arm before he can retreat from the balcony, his hold unkind enough to make erik jerk in response, but he relaxes when it becomes evident to him sebastian merely wants to gain precedence over this debate, and keep him here to speak. well, i make regular donations to a homeless children's education fund in pittsburgh.

' okay. ' thats an example, as you demanded. ' i suppose so. '

when shaw contemplates him, erik thinks he looks rather dull. he watches his brow press into a line. when you learned the scarlet witch and quicksilver were your children, what did you do, magnus?

erik raises a pale brow, something hot and brittle waning in his chest. the sudden switch in topic is jarring, and suspicious to erik. he blinks, averting his eyes from sebastian in thought. ' i held my granddaughter in my arms. i thought about all the time i had missed, and i felt sorry for myself, and sad for them. and i got over it, and began trying to fill in the gaps. why? what does-- '

shaw, perhaps realizing he had yet a hold on erik's arm, lets him go. nothing. it was--a ghost from my past has come to haunt me. you, so filled with them, might have known what to do. i was.. perhaps, asking for .. help.

' help? you? ' ridiculous, isn't it? it feels disgustingly wrong.

' well, thats your problem. ' erik presses his finger into sebastian's chest, albeit the pressure is slight; it's meant to get his attention, nothing else. ' you only accept help when it means theres less work for you to do. what do you do when it makes you vulnerable? i struggled with that for years, and it is still wanting. '

there is a long suffering moment of silence between them, the sun continuing its descent on the horizon, bloated colors of orange and pink crawling over glass. finally, one of shaw's near-comically large hands raises to crest the side of erik's face, his thumb curling to the hinge of erik's jaw, beneath his ear. he tilts erik's head like he's appraising his face, and erik scrunches his nose. ' what are you doing? '

kissing him is certainly the last thing erik could have expected. in fact, it's so left-field to him, so abrupt and strange, that for a moment, erik doesn't know exactly what to do. shaw pulls erik's head down just slightly to compensate for the inch of difference in height, an act erik would suspect meant to be domineering. when his senses come back into focus, he can taste alcohol, a hint of smoke, something beneath that likely to be meat. his heart rushes into his ears, and the swirl of panic pushes erik to respond, his suspended belief finally giving like an overcrowded dam. he balls a fist against shaw's clavicle and shoves with force, successfully prying him free, and nearly knocking him into the railing.

' gott! du khazer, what in--why did you do that? ' erik roars, wiping his face in his sleeve.

i thought we were having a "moment".

' no! '

[monkey-network]

An Unfortunate Critique of Spiderverse - Part 1 (of 3)

Spider-Man: Into the Spiderverse was a fun award-winning 2018 animated film with a basically unanimously positive fandom, regarded generally as both a masterpiece Spider-Man film and a remarkable animated film overall. And while I do not disagree with that, it definitely earned its spoils, it pains me a bit to bring up the reason(s) why I can’t call it the masterpiece that many claim. I like this film, but I don’t love it as much as others and I wanted to express why. And I will see to be critical, not cynical. Fair enough? Spoilers ahead for this... 2018 film that you should’ve seen already.

Part 1 ~ The Spiderverse Squad

Now believe me when I say that I enjoyed this trio. Spider-Ham wasn’t as funny as I figured, but he still stood out like Peni and Spider-Noir in a respectable way. I especially loved the fandom’s reaction to them with fanart and jokes galore. But on a look back, it dawned on me that while their presence was welcome, our writers blew the load too soon and wasted these characters. Roll with me, will ya?

If you come to know me, you’ll figure that characters are the element I find the most crucial of your story; you mentally can’t just throw in random heroes into the story unless they’re significant to the protag, story, or world as a whole. It’ll feel weird, like you have no coordination. And yeah, the B team adds to Spider-verse’s worldbuilding mechanic that is the multiple universes; it thematically makes sense that more than one Spidermun can exist. And additionally kicks ass, no objections here. The problem I argue comes when while they add to the world building, it honestly added little to our boy Miles’ story, and it’s that disconnect that makes the characters feel more unnecessary than before. This doesn’t help when things could’ve worked far better if it only involved Gwen and Beter. To explain this better, I wanna bring up a couple films that are similar to Spider-verse yet knew how to use their secondary characters, the first one being...

Kung Fu Panda, baby!

The furious five sans Tigress is about the same as Spider-verse’s B-Team where Po really doesn’t rely on them to both unleash his inner strength and face the final boss in the end. They’re his muse for enjoying martial arts. Po interacts with them a little more than Miles does with the others, but we still have that disconnect between the upcoming novice and the experienced. That disconnect however is counter-balanced by their significance in the story, not only in certifying the stakes that come with Tai Lung, but being the necessary crew to another important character: Tigress.

Tigress is not only a character that Po looks up to, she’s a character with something to prove herself. She puts down Po because she’s envious of the special treatment he’s involuntarily receiving and mirrors the villain Tai Lung before his descent to villainy. The movie would’ve probably been fine if the Furious Five didn’t exist and it was just Shifu and Po training together, but having the five, and Tigress especially, in the story adds a great triangle of interaction between Po and Shifu, Shifu and Tigress, and Tigress and Po. Which makes it all the more poignant when she runs away to face Tai Lung herself, stern in proving herself to both Shifu and Po. We know that she wouldn’t win against him, but that loss is added two-fold when the other four were there to support her. The others aren’t as cynical towards Po, but it’s understandable that they sided with Tigress, thinking their experience together will help them succeed. It makes sense that the four willingly fight with Tigress, and it’s reasonably daunting when Tai Lung is able to tower all of them by himself. Compare this to Spiderverse where we kinda don’t get see our heroes and villains, excluding Miles, stack up that well until the 3rd act; it’s hard to wonder if who’s evenly matched and who can overpower whom. It doesn’t help that Peter, Gwen, and Miles are all isolated from the other three during the final fight in the warp terminal. 

It’s in the end where Po proves himself the Dragon Warrior, he not only earned that respect from the five but feels more complete knowing he and his idols look up to each other in a way. We really don’t get that interpersonal synergy with Miles and the B team beyond the moment of them together post Aaron’s death and their initial meeting, the best we get is that Miles knows he isn’t the only Spider-man but even that doesn’t feel as personal as his relationships with Gwen and Peter. Plus while Gwen and Peter are important characters, we don’t see much of a personal connection between the five Spidermun, it mostly comes off as an obligation that they’re together. Now I won’t lie, this is a pretty unfair comparison. The B-team came together on the fly, and it’s not like Miles, Gwen, and Peter knew who they were in the first place. But remember when I said a couple of films in the beginning? This leads to an ironic situation, coming from one of my other favorite movies about being special...

Been a while since I talked ‘bout this beauty

I think it’s safe to say Spiderverse and The Lego Movie have a kindred story beat where our hero meet some tagalongs that have their own thing but nonetheless contribute as supporting characters. But unlike Spiderverse, the Lego Movie showed something I never figured about characters until I saw it once again last year. The other characters have their stake in the plot, but they are also relative features of our main character Emmett. Unikitty resembles his boundless optimism, Benny his excitability, Batman his emotional conviction, and so on. It’s a stretch, but it is possible to note supporting/secondary characters as facets of who our main character is, what they lack or what’s the most prominent idea of them. In Steven Universe, the crystal gems are separate elements of who Steven is at his best or wants to be. Beastars has Legosi, Louis, and Haru have differing aspects of growing up that blend well when united. It’s essentially the braincells meme, the parts make up the whole. Gwen and Peter fill those parts exponentially for Miles, with Peter’s experience and Gwen’s finesse in her skill, to show him the work that goes in being a hero. Same goes for Aaron and Jefferson on a more personal level, being the ones to give Miles the necessary conviction to become the hero. All I gotta ask is: Can ya say the same for Peni, Noir, or Porker?

Again, not that they’re bad characters, but they mostly felt detached from the story in multiple angles

Now at this point you’ll probably say, “Monkey, we get it, where are you going with this?” Well, I can’t help but feel the B-team, while alright on their own, unfortunately feel like cameos that overstayed their welcome. Beyond the initial meetup, the interactions we get with them are second to none, there is no significant dynamic between the B-team and the two spidermun that are more significant to the story. I feel a little less charitable for media wasting potential and it doesn’t help that writing them out until the final fight is very easy. “Peni and Sp//dr were responsible for repairing the flash drive?” Well, I can say a few hints in the movie can point to Aunt May, Peter, and/or Gwen doing it instead. It’s hard to come back to this film compared to the others I’ve exampled when the back of my mind is going “Why are ya’ll here?” I say it would’ve been surprisingly cathartic if the B-team came near the end where they helped out and met up with the trio before bouncing back to their dimensions. As such, we could put more time in for Miles and Gwen together at Aunt May’s house the same way Peter and Miles got earlier before the plot generally runs the same, we have less voices but we build on those character dynamics for more than that bus ride they share. Add to that character theme of Miles, Gwen, and Peter B. being the different generations of Spider-man or something. Overall, I love them, and they feel wasted in this film.

I just can’t see Spiderverse where the focus of these three subsides the interest for the other three

I wanted to discuss this particularly because as much I can say that much detail in the film fundamentally works, which I will discuss later in this analysis, it stands to say that not every ambition in this undoubtedly ambitious movie was added well. It’s honestly how i feel with randomness humor, it’s fun at first but you gotta do more than enough to make it timeless while keeping the surprise of it intact. Or else you just wish they just replaced that joke with something more constructed. Said before, they don’t or weren’t able to utilize these characters beyond their cameo level moments, and it is not a good thing that they’re potentially saved for the sequel because I hate the idea of depending on a sequel to fix the 1st movie’s issues. I gotta wait to 2022 for a potentially better management of characters and that bothers me. I appreciate what I got, but I unfortunately can’t say that appreciation equates to a free pass of what’s detrimental to my love for this film. Now, I tagged this as part one for a reason, because this is only a symptom, a fun size piece to a bigger story problem I have.

Next time. Otherwise, thanks for reading and I hope you enjoy your day.

[stillinaincrad]

10 Romantic Anime Worth Watching

I decided I wanted to put together a list of romance anime, but some of the ones that I thought of didn’t fall into a “romance” definition per se, but that was the aspect of the story I liked best. Likewise, there are some all-aboard-the-feels-train romances that I didn’t think were the point of the show (Spike and Faye, Kirisu and Okabe, Ed and Winry, to name a few) and there are ones I fought myself to include and to leave off. So, I guess that this isn’t necessarily a list of my favorite romance anime as it is a list of anime that I watched for the romantic elements more than anything else. So, in no particular order, yet another signature long post about pretty much nothing: 

1. Kaze No Stigma

Still my favorite anime couple ever, Kazuma and Ayano run circles around the fact they are bonkers for each other, and it’s just too much fun to watch. 

2. Spice and Wolf (Ookami to Koushinryou)

You can call this one about economics all you want, I’m going to call it about relationship goals. In all the anime I have ever seen, these two have the sweetest, most interdependent relationship between them, though they are too proud to admit it to themselves and each wants to pretend they would be perfectly ok without the other. Each brings something valuable to the relationship, both are intelligent enough to see the world for themselves, yet still wanting to just be with the other, to make sure the other is safe and happy. Their balance has always made Holo and Kraft pretty much the perfect couple to me.  

3. Toradora! 

Ryuuji. The palm-top tiger. Both in love with other people, and are the last to see that they’re actually insane about each other. Luckily, we don’t miss any of it, and it’s one of the most endearing shows I’ve ever seen. 

4. Plastic Memories

you better have the tissues ready before you take on this one. It hits like Tyson, and hurts even more. One of the deepest reaching stories feels-wise that I’ve seen, moments of overwhelming sadness, but so happy and warm at the same time. You definitely won’t be sorry you watched it, but... well, prepare to ugly cry your earballs out. 

5. Golden Time

A beautiful, “slightly” possessive, “slightly” psychotic, spoiled rich girl and a broken, traumatized, amnesic nice-guy commoner wade through a buttload of drama of their own and of those around them, all the while scared that they’ll lose the other because one of them knows it’s definitely coming. Sounds awful, yeah? It isn’t. It’s actually very light and lovable. (ps - I still hatehatehate the ending. Bugs the daylights of me, but I still like the show.) 

6. Your Name (Kimi no Na Wa)

I watched this because everyone was talking about how visually stunning it is, and they’re right - the artwork is captivating. But the relationship that develops between Mitsuha and Taki pulls your heart every which way and makes it run the whole gambit. I was overwhelmed by all the feels this movie brought out. 

7. Is It Wrong to Try to Pick Up Girls in a Dungeon? (Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka)

wait, wtf is DanMachi doing on this list??!! Well, to be frank, it’s my list and these two charm the poop out of me, so I am using it. Sure, there’s magical beasts, a goddess with major jealousy and self-esteem issues, and a family obsessed with booze, but what’s wrong with throwing a little fun in here, eh? Even though she becomes his reason for wanting to change everything about himself to one day become worthy of her, Bell and Aiz are both so fundamentally awkward towards each other from start to finish that you can’t help but root for them to come together. OK, I can’t help it, and why I get the warm and fuzzy from them every time I watch it. 

8. Your Lie in April (Shigatsu wa Kimi no Uso)

I kind of feel like I don’t need to say much of anything about Your Lie in April, the entire anime world already knows it over. But it’s so amazing to me how 22 episodes of such an incredible love story between two people who were never lovers takes over our emotions so effortlessly and with such command and simply refuses to let go. The greatest couple that never was. 

9. My Teen Romantic Comedy SNAFU (Yahari Ore no Seishun Love Comedy wa Machigatteiru)

OK, I shamelessly love, love, LOVE these three, and this story. The characters are so well written and layered, and are continually evolving. One wants love and is sure she has found it in someone, the other needs someone specific to love them back, and one is so full of self-loathing that he doesn’t even love himself, but refuses to allow his interpersonal relationships to be shallow and listless. The dynamic is as fragile as the tensile strength of a water bubble, and unironically weakens with even the smallest changes around it that threaten to cause it to pop. And now we get a third season to have a little more of their story (btw - there are only fan translations of the light novels, no official English one, so as an American I can’t keep up with this one on my own which sucks rhinoceros taint, but also provides enough distance to the story that I keep chasing it every time there's a new anime release). 

10. Chivalry of a Failed Knight (Rakudai Kishi no Cavalry)

Another one that I think is kinda odd to put on this list. It’s a little stupid, the fan service is annoying to the point it’s irritating in places, the writing isn’t particularly good most of the way through, and I’m not going to lie, I actually got disgusted with it and dropped it. But then I eventually went back and finished the show, and realized where I walked out was the turning point of where it got GOOD. I don’t need convincing that there are better romance anime out there, but the resolve to which one guy was willing to fight to protect his right to have feelings for a woman, all without tarnishing her image in the least? Ikki Kurogane is a m’f’ing MAN in that regard. I’ve never forgotten how much that sunk in, even if every time I search for “worst anime ever” it’s still about one-third Stella Vermillion memes lol 

[queen-mabs-revenge]

I apologize if this comes off as a rude question to a Killian fan, but I think you’d be the best person to answer in a real and logical way: Do you think, given what we know of how the series went, Killian’s character arc might have ended better had he either died from the Excalibur wound or if he had been allowed to maintain his heroic sacrifice at the end of the Dark Swan arc? Not necessarily ‘would he be better off dead than married’, just whether those would’ve been more Him.

Woo boy nonny, you’re out for my life today, aren’t you? xD

OK arggggk ok this is complicated for me bc those two ‘death points’ are very different imo, and also have different implications depending on how close to the story you’re zooming in. For the purposes of this, I’m going to focus on the Camelot death from the Excalibur wound. 

On the purely ~*~i’m love him~*~ level, of course I’m rather dang pleased that he didn’t die…permanently in either of those scenarios. I’m always pleased to get more of Killian on my screen. Even if the situations leave me feeling frustrated, I think that he’s a character that’s complexly written enough and well acted enough to be someone I can enjoy picking apart in any scenario. 

So OK dealing with both of these scenarios I think you can tackle this from a few different viewpoints (and I hate to always go back to this, but it’s literally like the fundamental way my brain works, so I’m gonna kind of be flirting with those ideas the whole time). Looking at the situations as if I were imagining all the characters in the story to be real people? I think it’s clear what the characters wanted: in the case of the Excalibur wound, Killian would rather have died while helping free his friends than Emma turn him into the dark one, and expressed that clearly. In the case of his death at the end of the Dark Arc, he chose death in part as a way to free everyone from the fate he’d doomed them to, but also to eradicate the darkness once and for all. Because of Rumple’s failsafe, that choice was predicated on false circumstances, and so the idea of Emma going to bring him back, and him not wanting to stay dead as long as everyone else was safe, makes more character sense and is more of a plot point to get everyone to The Underworld. Because the first is more character based and the latter more plot based, I’m gonna focus my attention on the first.

If we’re talking about the character arcs? It’s hard. Basically the way that I would approach that would be “how fruitful were these events in catalysing character progression and growth” and as I’ve said in other posts, I don’t think they—especially the Camelot death—were fruitful at all, and in fact were regressive. This is going to focus mainly on CS in 4-6 as that’s pretty much what I see those events and their value enmeshed with (and, as I’ve stated before, IMO nearly all of Killian’s S4-6 interactions are filtered through CS anyway, so I think it’s appropriate to talk mostly about CS here) and bc I’m a lengthy ho it’s going below the cut.

The thing I had loved about CS was that during the S3 build up to their actually entering a relationship, the relationship was set up to challenge both of their character weaknesses. For Killian, his weakness centres around his desire for freedom and agency (for himself or others), when challenged, leading him to close himself off and/or make pretty shitty and harmful decisions. For Emma, you have the fear from the trauma of abandonment leading her to isolate herself, or sometimes not even enter decisions as to not present the opportunity for abandonment.

So the S3 push-and-pull of Killian giving the reins of the relationship to Emma—stepping in as support when her life or familial relationships were at risk, yes, but in their interpersonal relationship, letting her evaluate him and move at her own pace—addressed both of their weaknesses. Killian explored the vulnerability of willingly giving up control of a situation, and Emma, by going at her own pace, was able to evaluate his steadfastness and begin to trust him for it.

And that was the dynamic that each needed in that moment, and why early CS is still in ways compelling for me — if I ignore the follow through. Because the problem with the two “deaths”, as far as I see, is that they follow this pattern of taking that previous dynamic, and digging in the heels and exaggerating it to an unhealthy level, instead of exploring how the two characters heal together and adopt a new dynamic. The important thing in that push-and-pull exchange is the agency both characters have in it — however, you start to see what, in my opinion, is Emma assuming Killian’s willingness to follow her lead is given, which removes his agency from the exchange…and the narrative starts to romanticise it.

I think you start seeing it from the beginning of S4 with Emma getting angry at Hook when he doesn’t do as she says and stay put with Elsa in 4x03. We get insight into both of their mindsets during the confrontation at the end – Emma is terrified that she’ll lose him and that’s the reason she orders him earlier; he, used to being dynamic, struck out on his own in response. But the point we got by the end of the episode wasn’t that she was right, but that she was expressing her valid fears irrationally by trying to tell Killian to do what she said, no questions asked. And he was wrong in that he didn’t counter a demand he didn’t agree with right away and directly, but took back his agency behind her back when he should have communicated that he had a problem with what she was asking. So you have the unhealthy level of the dynamic being played out, handled poorly, and a set up for forward motion into healthiness being presented.

Except it never really followed through—oh it did in dribs and drabs, which makes this so much more frustrating (their conflict over his holding back information about Ursula, and then the resolution they come to together being one positive move I can think of where they’re venturing more into equal partner territory), but overall the idea of Killian’s capitulating to Emma being a given instead of a choice is the theme that continued—to its unhealthiest apex in S5, with the Dark One arc being the dramatic climax of  Emma assuming Killian’s eventual compliance and overriding his agency with her own desires, and Killian, when confronted with being controlled, going to harmful extremes.

And, what that should have done, and what I thought it was doing at the time, was to drag that increasingly issue-laden agency problem out into the harshest light, to the most extreme situation of life or death, and create maximum drama over it so that it could reach a resolution both through character interaction and plot resolution. So that going forward, you would have the two entering into a more communicative partnership and presenting a united front (and negotiating how to navigate what that means) against whatever conflict showed up next (insert forever bitter I NEVER GOT MY FUCKING BATTLE COUPLE face here), or deciding to step back and change their dynamic by moving away from presenting a romantic unit.

But what happened was more of the same, except this time it was treated by the narrative as being just part of their relationship’s standard operating procedure, part of the new ‘normal’ after the major conflict of S5, and not as a problem to be solved. It was romanticised. So you end up with S6 which makes me just want to fling myself into the sun with rage. Lies about the saviour premonitions are Emma taking agency away from not only Killian but everyone around her — it’s the same story all over again, ***walls*** so it’s OK, but no one has the agency to react and to help her because she doesn’t allow it. And as it relates to CS, you don’t get Killian’s reaction to this at all except in sad looks (and That Fucking Cut Scene That Shouldn’t Have Been Cut).

You get a redux of 4x03 with Killian hiding the shears as a way to try to reclaim some agency behind Emma’s back, because she’s shut him out of any solution they could have reached together as partners. But the narrative focuses on what he does as the only grave error of the situation. You have the agency problem embedded in the first proposal – from going through his private things that trusted as a safe hiding place, to her instigating the proposal over his coming to her for help — but this time, unlike in the Camelot situation, her actions aren’t called into question by the narrative, but his immediately very much are both by her at the character level, and at the narrative by isolating him on the realm-hopping extravaganza. Her taking away his agency is very literally romanticised in a proposal.

You have it again right before the wedding with yet another lie to cut Killian off from being able to actively step back to or to step in and help her as her supposed partner — and again, this time the narrative frames this not only as the act of a hero, culminating in her solo take-down of the Black Fairy (with her family literally frozen out of supporting her), but it actually intersperses her actions of lying to him to force him act as she alone thinks is right in with the build up to their actual wedding. Not only does the narrative not call her actions into question, they’re literally put into the most romantic of contexts. The question at that point is never whether or not Killian will follow Emma’s lead, because the relationship never moved past the S5 conflict of Emma assuming he would and acting on his behalf, except unlike in S5, this isn’t portrayed as a relationship weakness, but as Emma’s strength of character, and their romantic apex.

So that comes back to the death question. And my returning question: narratively what was the payoff? 

It’s not that from a story standpoint I think that Killian’s character arc was finished when he was dying from the Excalibur wound — for me it’s that, if that moment is a pivotal moment crafted to show the height of agency imbalance in the only real relationship he has on the show in S4-6, then it should have been addressed and resolved with a pivot in dynamic after the dramatic fallout — with the characters either moving together or apart. 

As it stands, the dynamic stagnated and regressed so badly into that stagnation that the whole issue that the “death” brought up, with the extreme violation of agency and resulting trauma of S5, was angst for angst sake without resulting growth. Without a complete overhaul of the plot from that point out where CS either grow together or apart due to the consequences of that moment, I tend to view that moment when he’s begging to die in the Middlemist field as just a deeply sad one, now made the sadder for its pointlessness. It’s harbinger of the future unchanging and then utterly romanticised removal of his agency within the relationship continuing through the end of the series. The shower of resulting S5 angst affects his character/relationship arc through S6 about as much as a fridging would have anyway, and it’s really bleeding hard for me to side against the character’s wishes knowing all that in retrospect.

(that said, to reiterate, as a killian fan, i am glad he stuck around? but i’m also glad i get to live in a world where there’s a him that didn’t go through that depressing stagnation? ugh HI YEAH!)

[theonyxpath]

Eric Zawadzki, here. Some folks expressed interest in seeing the Mid-Winter scenario for the Deviant game Meghan ran, so I’ve posted it as a Google document. This includes the player hand-outs, as well as the Storyteller information. I haven’t included the character sheets because the mechanics of several Variations and Scars have changed so much that I don’t want to post obsolete information, but I’ve provided brief summaries of each character below.

Writing a convention scenario is a lot different from planning a session for an ongoing chronicle. The approach I’ve developed over the years works something like this:

Characters

Although I often have a vague notion of the setting and plot of the scenario before I start (“capture a billionaire on a cruise ship”), when it comes time to write the details, I almost always start by creating the players’ characters. There are some tricks I use for this process.

Each character sheet must be self-contained. This means that all the details of the Variations and Scars need to be printed on the character sheet, but it also means that the character concept needs to be easy to grok. You want characters with a power/skill set that makes their strengths and weaknesses instantly obvious, as well as a personality that doesn’t require much time to settle into it.

Brevity is your friend, here. A long character sheet with too many special rules makes it hard for players to get up to speed quickly. This means a lot of mechanics that are important in a chronicle (conspiracy actions and Instability, for example) are best left by the wayside in a typical convention game. If it doesn’t serve the immediate needs of the scenario, leave it out.

For this scenario, I knew I wanted to showcase several Variations without burdening players with a huge number of Scars to keep track of. I also knew this was an infiltration mission, so while some of the Variations could be flashy and obvious in use, they couldn’t come with Scars that would immediately attract a lot of attention from random passersby. I also knew I wanted to emphasize Divergence as an unwelcome, life-altering change, so I made sure that it was clear what each character had lost as a consequence of it, and I chose Persistent Scars (as opposed to Controlled or Involuntary ones). Finally, I knew I was creating a scenario where all the characters had the same Origin (Exomorphs/Unwilling), so I didn’t even include that information on the character sheets.

Group Dynamics

A convention setting does not afford the time for everyone to meet in a bar and introduce themselves for the first half hour of the session (or, who am I kidding, the first two hours). I have found it helpful to make it clear that the characters know each other – whether through working together before or by reputation. This lets everyone trim down their introductions to “name, summary of the character history summary, and what I can do (Variations/Scars).”

Creating pre-generated characters for a convention scenario also means you have complete control over the connections between those characters and can bake in some of the interpersonal dynamics. You can create tension by giving characters traits that set each other off (“I hate sports” meets “I love talking about sports” or “I’ve always secretly loved you” meets “I’m not worthy of your love”), or you can give them Variations that play off each other well (“create blinding light” with “shield your senses from overwhelming sensory input”).

For this scenario, I wanted the characters to cooperate with each other readily, so I kept the personal dynamic pretty simple (“you’ve been fighting this conspiracy together for quite some time”). With one exception, each had Variations that emphasized infiltration or stealth, and that exception had mundane abilities geared toward investigation.

The Scenario

I love running big, sandboxy chronicles where the players and their characters’ action largely determine the goal of the next story, but a convention scenario is not the place for this. A clear goal, stated up-front (even if later complications change the destination significantly), like a short, simple character sheet, makes it easier for players to immediately grasp what to expect from the scenario.

I usually have a pretty clear idea of the beginning and the end of the scenario, so it’s mostly a matter of creating complications to slow the rate at which the players get from one to the other. When designing obstacles, I keep each character’s abilities (whether mundane or supernatural) in mind and attempt to give each one a chance to shine a few times. That said, I never assume that every character will be at the table every time, so while it is great to write in a submarine so that the aquatic character can be the one to discover it, the scenario must work just as well if the aquatic character isn’t there.

Finally, I find it useful to make a convention scenario an accordion. If the characters are burning through obstacles like thermite through a plastic table, I want to be able to add more complications on the fly to ensure we don’t wrap up too quickly. If the players are struggling (or dawdling), I want to be able to hack out some of the complications to make sure we wrap up within our allotted time. In either case, I want the players to be none the wiser that those Devoted didn’t have full stats or that I originally planned for the security in the oligarch’s quarters to be a lot tighter than that.

Dramatis Personae

Here is a summary of each of the characters I created for the scenario.

Daniel Thompson

Clade: Cephalist. History: You were a star basketball player in high school, and though your college career didn’t get you into the NBA, you stayed active, and being on the court or field or diamond made you feel alive. Your desk job wasn’t everything you dreamed of as a kid, but you got to travel a lot. The only thing missing in your life was a family. They catfished you on Facebook. You know that now. The pretty face inviting you to meet her at a hotel in Argentina probably wasn’t even real. Instead, they were waiting for you with a black bag stinking of chloroform. What they did in that lab broke your body, and there’s no going back to the basketball court now. Roleplaying Notes: Deprived of the health you once enjoyed, you live vicariously through others – sometimes by stealing their bodies for hours or days at a time, more often by merely pretending to be someone or something you are not. Persistent Scars: Genetic Disorder Variations: Body Snatcher, Face Thief, Pheremones

Holly Poff

Clade: Chimeric History: You loved vacationing on the beach – with a friend, with your family, or all alone. They lured you with free tickets to a local aquarium – compliments of the hotel where you were staying in Darwin. The deep-sea exhibit featured a pressurized tank of fish from a mile or more below the sea’s surface. You found the bioluminescent creatures fascinating, but you never dreamed you would become like them until you woke up in a hospital bed a week later – the product of bizarre experiments in combining deep sea anatomy with your own. Now, you can’t stand the sight of the sun or its warmth against your skin. Roleplaying Notes: You used to spend any spare cash that came your way on exotic vacations, but now you’re using it to bankroll precision strikes to dismantle the organization that took the sun away from you forever. Persistent Scars: Bane Variations: Aquatic, Bioluminescence, Camouflage, Holographic Projection

Kenneth Post

Clade: Invasive History: You got into politics when you were still in high school, and when you were in college you were selected as a delegate to the Democratic National Convention. This was exciting. You always knew you’d be involved in governance – maybe as a politician, but even as a political operative, you knew you’d make the world a better place. At the hotel before the convention, though, you received room service you never requested, and your next memory is of riding in the trunk of a car with a bag over your head. They stuck needles in your skull – nanites meant to perfect your brain, so they said, but it broke you, instead. Roleplaying Notes: You’ve gone from being the golden child everyone at school voted most likely to become President to a pariah. No one trusts you, and you find it almost impossible to trust anyone in return. Persistent Scar: Lying Eyes Variations: Omnicompetence, Onomantic Influence, Sensor Array

Natalie Brown

Clade: Mutant History: As a working mother of two with large, extended families on both sides, you often joked that it would be nice to be able to clone yourself so that you could be everywhere for everyone who needed you. You don’t make that joke anymore. The hotel was pretty far from Disneyworld, but much cheaper – perfect for a family of four on a budget. Being kidnapped on the first night was not in the brochure. You don’t know exactly what they exposed your family to, but you vividly remember a lab tech describing your husband, son, and daughter as “medical waste” to be “disposed of.” You’ll never forgive that. Roleplaying Notes: You’ll be the first to admit that you are broken – not like a toy to lie limp on the floor, but like a glass bottle. You are all sharp edges, cutting anyone who comes close. Sometimes you still see your family, or something that could be their ghosts, and that’s hard to bear. Persistent Scar: Glitch Variations: Enhanced Speed, Shadow Selves, Translocation

Sister Laura Clements

Clade: Coactive History: You devoted your life to the Church, to teaching God’s children, and to learning more about the world. You were a gentle soul, good with elementary-aged children and savage only when playing card games like pinochle and hearts with friends and family. You were supposed to go on a retreat with some of your fellow sisters, but the flight to Cleveland was overbooked, and they left you behind to catch the next plane. You must have fallen asleep, a troubled sleep filled with nightmares of devils doing unspeakable things to you. You woke with a demon’s bloodlust that no exorcist has been able to purge. Roleplaying Notes: You live in an eternal state of guilt, plagued with an impulse to do violence that you can’t control, and the ability to transform into a monster to carry it out. You can’t help but spend every conversation imagining with joy how you will hurt the people around you. Persistent Scar: Murderous Urge Variations: Hybrid Transformation (Gigantic, Natural Weapon, Superhuman Strength)

Finally, here is a link to the actual demo: https://docs.google.com/document/d/15q1cXpvmPK05JdBrZNRyaD4gA2mlcedCbhadH-nafnQ/edit?usp=sharing

[niveousuniverse]

Day6 Chinese Zodiac

In case anyone is interested;

Sungjin: Water Monkey

Jae: Water Monkey

Young K: Water Rooster

Wonpil: Wood Dog

Dowoon: Wood Pig

Water Rooster:

They have dual personalities - sometimes they are quiet and peaceful, while sometimes active and dynamic. They really love talking, good at expressing their inner feelings. To some extent, they could be good speakers or sharers. However, they are quite outspoken, so they may offend others unconsciously. More info on Water Roosters here and here.

Water Monkey:

They have staunch, responsible and courageous characters. Sometimes a bit aggressive, they may come across problems when dealing with interpersonal relationship. They are acute and enterprising, willing to take challenges and risks. If they lie less, they could make more true friends. More info on Water Monkeys here and here.

Wood Dog:

Wood Dogs are kind, friendly and stable in character. They are very enterprising for their future, and their wisdom and eloquence make them good leaders. They are well aware of their capability and strengths. They would like to live a thrifty and plain life, but over calculating may make them lose friends. More info on Wood Dogs here and here.

Wood Pig:

Wood Pig have a soft and tender heart, with great sympathy to people in hardship. They like to make friends, and could get along well with different kinds of people. They are a bit hot-tempered when encountering emergencies. Determined and decisive, once they set goals, they would start to achieve them immediately. More info on Wood Pigs here and here.

[cxptainsideburns-archive-blog]

((haha y’all shouldnt encourage me here’s the p much unedited version of dnd kallus hahah oh god i basically made a whole fucking setting 4 this shit...........))

Good, old fashioned, basic ass fantasy AU. So I basically rolled up Kallus as a DnD (5e) character. Basically. I'm kinda vaguely refusing to deal with the actual lore of Dungeons and Dragons (bc i dont know any of it shhhh) thus I'm making up a bunch of it here in order to wrap it around Star Wars dynamics. So... this may be as sprawling as my Changeling AU. For those who only care about the basics: Kallus is a half-elf (Drow) fighter (Dueling, Battle Master) who used to work for the Emperor but is now a spy for the Rebellion.

Kallus' father is a Drow and Kallus' mother is fairly Human. Crislyn is from a richer family, but they cut ties with her shortly after her marriage to Kerinkof and the ensuing financial pressures and prejudice again Kerinkof forced them into the Underdark. While they try to make an honest living, swindling and crime keeps them alive. Antes Kallus was born and grew up in the Underdark. As a child, he seemed destined to follow a very typical Underdark path, especially considering his Drow heritage, but a Water Genasi by the name of Silifrey came down for a quest and ended up trying to clean up the town once she realized she'd be there for a long while. Antes was inspired by her valor and tailed her for some time. Eventually she agreed to mentor him a bit, but her commitment was flagging since she knew she'd leave soon and Antes wouldn't have much hope in the upper world. Still, he took to it like a duck to water and absorbed every bit of knowledge she would pass on.

Once Silifrey left, Antes, now a young adult, stepped in as the lawful figure with little success. He was young and inexperienced and not at all intimidating like the adventurer was. Still, he kept pushing, trying to protect people and started making a name for himself as he got more and more skilled. Heads of the Underdark started ordering hits on Antes since the kid was starting to be a real threat. It didn't wane his determination at all, though it left him paranoid and his parents terrified. Stepping in, Crislyn and Kerinkof asked Antes to leave the Underdark. They knew he could make a real difference out in the world and would be much safer. Antes took it as them trying to protect their own criminal endeavors and bosses and this marked the main schism in their relationship. Crislyn and Kerinkof are aware of Antes' feelings (he snapped it at them hard enough), but they don't mind being hated as long as their child is safe.

By the time Antes joins the upper world, it is already under the thumb of Emperor Palpatine; the Empire is all he knew regarding the upper world. The Underdark wasn't particularly in the loop regarding current goverments and coups; no one paid attention to the Underdark, the Underdark paid no attention to them. Antes found a town accepting enough to let him work. It wasn't law enforcement, that was a more elite profession not given to outsider (especially those from the Underdark). He was apprenticed to a glassblower and blacksmith. His works lacked an artistic flair, but his technique was impeccable and his strength was particularly suited for smithing. He was unsatisfied by all of this; he wanted to help people, bring justice to wrongdoers, something. Fortunately, the Imperial army drafted him, and other townsfolk, to help crush nearby rebellions.

Antes' skill helped him climb the ranks quickly and soon enough he had his own company. They were an incredibly close group even though Antes could be a bit of a tightass. They did well to stamp out outcroppings of treachery and keep order in the cities they patrolled.

On a routine patrol of the city of Onderon, Antes and his band were attacked by a Goliath under Saw Gerrera's orders. Antes' entire company was soundly slaughtered and he could do nothing. An initial blast of magic or a makeshift bomb (Antes still isn't sure) left him paralyzed. After that, he refused to get close to his subordinates and detached himself from any interpersonal relationships. He stopped allowing people to call him Antes.

Even with that black mark on his record, Kallus skill made him an important asset. He ascended the ranks further and settled into an internal investigator position.

One city of Goliaths, Lasan, was wholly and entirely opposed to Imperial rule and fought tooth and nail against the Empire. Kallus was put in command of an army to utterly crush this uprising. Since the terrain was difficult and Goliaths so tough, the battles were long, hard, and costly. Not wanting yet another failure on his record, Kallus authorized the use of experimental bombs designed to mimic the effects of the spell Contagion. The Goliaths of Lasan were utterly and painfully wiped out.

Tag for this Era: Imperial Watchdog

Kallus was stationed outside the long desolate desert city of Geonosis for a mission designed to trap a particularly tenancious band of rebels. When the firefight erupted, Kallus and Zeb immediately locked themselves into a duel. A sandstorm began whipping up and their dual had started separating them from the group. As the rest of the Rebels began fleeing, Zeb promised to catch up but an errant spell knocked both Kallus and Zeb a good distance away and the sandstorm further buffetted and disorientated them. Kallus' leg broke from the initial blast. Despite having every reason not to, Zeb stuck with Kallus and helped him out as best he could, especially once they found out they were in Purple Worm territory. Eventually Zeb's family of Rebels found him and got him out while Kallus remained hidden behind a rock formation. After several hours a scavenger came by and Kallus hitched a ride with him back to civilization. So many years of service and not even a tiny search party. No one even missed him.

After grappling with the decision for some time, Kallus decided to become a Rebel spy, now hyperaware of all the shitty thing he and the Empire have done. He set up a tentative mode of contact and feeds the Rebellion information.

Tag for this Era: Do More Good

Kallus has the height of an elf and the build of a buff human. His skin is fair with extensive swaths of pure obsidian colored flesh. These areas mostly lie on the same places as they do in my normal verses, but there is some on his neck, creeping toward his face. He doesn't bother to hide it. His eyes are such a pale silver they almost appear pure white save for the pupil. His hair is still ginger. His ears are pointed as is typical of an elf. Due to his Drow blood, he is somewhat sensitive to bright lights but has spent enough time above ground it's not as painful anymore.

Kallus wields a warhammer, battle-ax, javelins, and longbow. He speaks Common, Undercommon, Elvish, and Goblin.

"I've lost too many friends...."

General Tag: Trained For Danger

[themovieblogonline]

A Bit of Light Review: A Commendable Cinematic Experience

A Bit of Light is a cinematic tapestry woven from the threads of human fragility, redemption, and the complex dynamics of familial ties. Directed by Stephen Moyer and penned by Rebecca Callard, whose stage play of the same name serves as the foundation, the film explores the gritty reality of life’s challenges through the lens of its protagonist, Ella, portrayed with visceral vulnerability by Anna Paquin. This narrative is not for the faint-hearted, but rather, for those who appreciate cinema that delves into the essence of what it means to be profoundly human. https://www.youtube.com/watch?v=m6I_zfwvk_w The story unfolds with Ella, a character almost hitting the fourth decade of her life, finding herself in the throes of upheaval. Her journey of battling sobriety leads her to relinquish temporary custody of her daughters to her ex-husband, Joseph (Youssef Kerkour), and his new partner, Bethan (Pippa Bennett-Warner). The desperation of her situation compels her to move back with her father, Alan (Ray Winstone), marking the beginning of an emotional odyssey into the past, present, and murky waters of interpersonal relationships. The Good: The casting is a stroke of brilliance, with each actor bringing depth and authenticity to their roles. Anna Paquin shines as Ella, encapsulating the torturous journey of a woman grappling with the demons of addiction, the anguish of motherhood lost, and the relentless pursuit of redemption. Ray Winstone, as Alan, delivers a stellar performance that oscillates between the hard exterior of a disillusioned father and the soft underbelly of paternal love. Youssef Kerkour and Pippa Bennett-Warner complement this ensemble with their nuanced portrayals. They offer a glimpse into the complexities of moving on and forging new relationships amidst the remnants of the old. A Bit of Light doesn’t shy away from the mundanities of everyday life, choosing to shine a light on them. Moyer’s direction employs a restrained palette, grounding the film in realism that is both stark and subtly beautiful. The cinematography is commendable, capturing the intimacy of spaces and the stifling atmosphere of a local pub. These settings become characters in their own right, mirroring the internal landscapes of the protagonists. The Bad: However, the film is not without its shortcomings. At times, the narrative pace meanders, getting lost in its contemplation. The film's character exploration sometimes slows down the story. There are moments when the dialogue, striving for authenticity, lapses into mundanity. It lacks the poetic punch or insight that such a dense emotional landscape warrants. The movie tries to tie up its threads, but some plot points feel rushed, leaving viewers wanting more. The film explores redemption in dark circumstances. Ella's journey reflects resilience, self-confrontation, and second chances. This thematic exploration resonates deeply, echoing long after the credits roll. The relationship dynamics presented in the film, particularly between Ella and Alan, are crafted with care. They weave a tapestry of past grievances, unspoken love, and the arduous journey towards mutual understanding. Stellar performances enrich the interplay between characters, adding layers to the narrative. The score and soundtrack of the film deserve a mention, perfectly accentuating the emotional landscape without overwhelming it. The choice of music is both poignant and evocative, enhancing key moments and elevating the overall experience. Overall: A Bit of Light is a commendable cinematic piece. It bravely tackles themes of addiction, familial bonds, and the quest for redemption. Its strengths lie in its performances, character development, and thematic depth. However, its pacing issues and occasional lapses into narrative and dialogue mundanities prevent it from reaching its full potential. This film is a decent watch for those who enjoy human-centric stories with depth. Read the full article