#the common ground being narratively interesting and complex

[eposiemc]

having a difficult time as a gempearl enjoyer and an arcane watcher. i can already picture the next two weeks being a pain

[novlr]

I’ve been reading some craft books and online posts about the world building because my story is an urban fantasy set in present day US, in a fictional town, and theres not a secondary world where the fantasy happens, it’s all in the real world, except the magic is a secret that only certain people know about, but all of the resources I find about world building only talk about fantastical worlds that exist by themselves and not the kind of more subtle world building that I’d have to do. Do you have any tips?

Worldbuilding for urban fantasy is the perfect opportunity to explore the mix of the mundane and the magical. It involves crafting a universe where the impossible becomes possible, yet is grounded within the familiar settings of our own world. This requires a delicate balance—immersing readers in the fantastical without breaking the spell of believability. Here are some essential tips on worldbuilding for urban fantasy writers.

Understanding urban fantasy

Before delving into building your urban fantasy world, it’s crucial to understand what sets this subgenre apart from other forms of fantasy.

Recognise the defining traits of urban fantasy, which typically include a contemporary setting combined with supernatural elements.

Familiarise yourself with the genre’s common tropes and themes, like hidden magical societies, the coexistence of magical and non-magical beings, and the contrast between the ordinary and the extraordinary.

Critically read successful urban fantasy novels to see how other authors have balanced the real and the fantastical.

Consider reader expectations for the genre, and the flexibility it has for innovation and subversion of norms.

Determine the tone and mood you want for your setting, as this will influence all other aspects of your worldbuilding.

Creating your magical systems

The magical systems in your urban fantasy will offer a unique flavour to your world, determining the capabilities of your characters and the challenges they face.

Where does the magic in your world come from—is it drawn from nature, ancient artefacts, parallel dimensions, or something else?

Decide if magic is commonly known or if it’s a secret kept from the general populace. If it’s a secret, why? And what are the consequences if it becomes known?

Develop the limitations and costs of magic, as these constraints can drive conflict and plot development.

Invent magical organisations, guilds, or societies, detailing their roles, influence, and how they operate in your story world.

Create distinct magical phenomena that occur within your urban setting, which can become landmarks or points of interest in your narrative.

Consider how technology and magic interact; do they coexist harmoniously, or are they in constant contention?

Creating realism in your urban setting

Realism in urban fantasy is about making the reader recognise and connect with the world you have created as something that is both other and familiar.

Include lots of real-world details, including accurate descriptions of city life, technology, and culture. Make sure you research for accuracy.

Use sensory details to make the urban environment come alive—smells, sounds, textures, and tastes that the reader can relate to.

Include social and political issues that resonate with contemporary society, allowing readers to draw parallels with their own experiences.

Develop a diverse cast of characters whose life experiences and backgrounds reflect the complexity of a modern urban society.

Integrate authentic dialogue that mirrors the way people communicate in modern life, including local slang and mannerisms, both real-world accurate and unique to your setting.

Consider the logistics of an urban environment, like transportation, law enforcement, and the economy, and how these are affected by the presence of magic.

Character development in an urban fantasy

Characters are the heart of your story, and the way they react to fantasy elements in their real-world environments will drive a lot of your narrative.

Create protagonists and antagonists whose motivations are shaped by the intersection of the real and the magical in their lives.

Develop backstories for your characters that explain their relationship to the urban setting and the magical elements within it.

Design character arcs that reflect the challenges and growth that come with living in a world where fantasy is reality.

Introduce secondary characters that highlight the diversity of the urban fantasy landscape, from magical creatures to human allies and adversaries.

Explore the psychological impact of a dual-world existence on your characters, including the strain of keeping secrets and the wonder of discovering magic.

Use character relationships to explore the nuances and complexities of your urban fantasy world.

Plotting your urban fantasy

Your plot is the vehicle through which readers experience your story world. Urban fantasy requires careful attention to pacing to give both elements equal weight.

Construct a plot that intertwines the urban and the fantastical, using the unique aspects of your setting to drive the story forward, rather than relying on the mundane.

Introduce conflicts that arise from the overlap of the magical and the mundane, be they societal, personal, or existential.

Use the setting itself as a character, with its own moods, secrets, and evolving role in the narrative.

Create set pieces that showcase the extraordinary within the ordinary—magical battles on the rooftops, secret meetings in subways, or enchanted parks hidden in plain sight.

Develop a pace that balances the exploration of your urban world with the unfolding of magical elements and plot progression.

Consider the use of multiple viewpoints to give a broader perspective on how the urban fantasy elements affect different characters and society at large.

Blending the real and magical

The key to urban fantasy is making the reader believe that magic could exist in their own world, interwoven with the everyday.

Introduce the fantastic elements gradually, allowing the real world to serve as an anchor for the reader’s suspension of disbelief.

Develop a set of rules for how magic operates in your world to maintain consistency and a sense of order.

Use recognisable landmarks and urban elements as grounding points, then twist them with your fantasy elements.

Establish the history of magic in your world and how (or if) it has shaped society and its infrastructure.

Consider the impact of magical events or beings on the everyday lives of both your characters and the city’s unsuspecting inhabitants.

Intertwine the real and the fantastic so that they feel inseparable, each substantiating the other’s existence.

[kerink]

PMG's documentary on ZA/UM really illuminated just how complex the issue really is. the entire situation has been framed as one thing when really it's two: 1. were kurvitz, rostov, and hindpere wrongfully terminated and 2. did kompus illegally acquire the majority share of ZA/UM.

i think that, in order for the narrative to not get muddled and emotions to not get too high, fans must keep these two issues separate. it doesn't matter if you personally like kurvitz, rostov, or hindpere or what you think about their professionalism, those beliefs shouldn't play into what you think about kompus' acquisition. and regardless of what the evidence and/or outcome is on one, that should have nothing to do with the other.

ultimately the issue of kurvitz, rostov, and hindpere's firing comes down to whether or not the three of them were made aware of the complaints about their behavior and contributions to the project and whether or not they were given ample opportunity to address these grievances. so far ZA/UM has only been able to produce a single piece of evidence in writing that kurvitz was aware of concerns regarding his professionalism. and while this evidence strongly implies that previous conversations about his behavior had been discussed, no other documentation has been put forward. the burden of proving just termination is on ZA/UM, and if kurvitz, rostov, and hindpere contest the termination we have to believe them.

i personally am unsure what to think about the issue. while i believe kurvitz, rostov, and hindpere all had varying levels of personal and professional discord within ZA/UM, i have yet to see any proof that their conduct was addressed in a way that is in line with professional and industry standards. whether i think the complaints against them are valid or not doesn't matter. what matters is whether or not the three were made formally aware of the complaints and were given opportunity to address them and change their behavior. i haven't seen proof this happened, which in my mind is in-line with the accusation of wrongful termination.

and we also have to keep in mind that this proof may in fact exist, but due to this being an on-going legal battle ZA/UM may not be able to showcase this evidence in a public format. therefore, we have to curb our opinion until after the case is concluded and all the evidence has been examined.

with regard to kompus' acquisition of majority share at ZA/UM we have the same issue: kompus has the burden of proof. if kurvitz and rostov are claiming they were unaware of or misunderstood the nature of kompus' actions, it's up to him to prove that to be untrue. since kompus claims the conversation was had verbally with nothing in writing being exchanged, we're now in a he-said-she-said situation, and while kurvitz and rostov have each other to support their side, no one has been willing to comment publicly in kompus' defense (that i've seen or as i understood PMG's coverage).

what i find most interesting about this whole thing is that in the slack message sent to kurvitz about his behavior, havel states that they're trying to create a more professional culture at ZA/UM. the lack of paper trail on any of the issues i've discussed here makes me doubt that. this isn't a point i just think the hypocrisy is really interesting.

ultimately where i stand right now is that i think kompus' actions are extremely suspect and that i doubt his story. he lacks proof that kurvitz and rostov agreed to this, and the way in which kurvitz and rostov were meant to benefit from the arrangement doesn't make sense. the entire thing doesn't pass a common sense check, to me.

all in all, though, i think this documentary is a must-watch for DE fans because it grounds us in the reality of how complex this is, not just for those directly involved but those indirectly involved as well. PMG made a fantastic point when they ended with a plea that the fans stop hurting the current ZA/UM employees because they want to get back at kompus and others responsible for kurvitz, rostov, and hindpere's situation. we need to recognize that the people who work there now just want to make games that carry meaningful messages and they want to connect deeply with their audience. they're all artists caught up in business and industry and we, as fellow artists, need to stand in solidarity with them. and we need to make sure we don't jump to any conclusions until the evidence has been brought to light

[purplink8]

I gotta admit, I kinda wish they'd shown more character development for Light in the beginning. It didn't convince me enough that "god complex" was a way with coping with the first two killings. IT CAME OUT IN FIVE DAYS. There was something else that made him like that and we never get to see it.

I don't buy it, and I honestly roll my eyes every time someone goes on and on about how Light was really such a good person and he was "traumatized" by the murders he "accidently" did, as if jumping through hoops with speculation requiring meta-analysis is necessary to properly understand him and is a more reasonable interpretation instead of just taking what he says at face value and reading what's plainly written on the damn page.

The whole process reminds me of how at the end Light, as a last ditch effort to save himself, goes on a giant multi page rant about how Kira was necessary and he was the only one who could do it, laboriously explaining his motivations....and Near very succinctly and correctly tears it down and distills the truth of it: "no, you're just a murderer."

Hm, I don't quite agree with you. I'd argue that there IS character development for Light (in the manga, at least) in the beginning as illustrated in these posts. As for "God complex" being a way to cope with his killings- I didn't say anything remotely close to that. Rather, Light copes by convincing himself that he's doing the world a favor by killing criminals and sacrificing his peace of mind imo.

The narrative Light feeds himself is that of a martyr about to die (he genuinely believes that he'd die before Ryuk's arrival) for his cause. Yet, this all changes when Ryuk comes, tells him that Light's destined to die at his hands, there's no heaven or hell, and last but not the least, that he dropped the Death Note because he was bored.

What are the things that stand out to Light? That if Ryuk decides that Light is boring, i.e., not interesting enough, he'll kill Light. Since there's no heaven or hell, Light now knows that he's got only one chance at his life, the length of which will be based on Ryuk's wishes. So he has to make the most of it.

Light starts by establishing that he is, in fact, interesting; hence, it would be a waste to kill him. He tells his story of using the Note, following the truth, except for the parts he leaves out. That, he had honestly thought he'd die for the sin of using a Death God's notebook, which is why, being an ambitious guy, he had mentally prepared himself to sacrifice his soul/life for the betterment of the world.

He fills the blanks in his motives for using the Note as in:

He was bored too (to bring forth a common ground with Ryuk),

He plans to become the God of the new world (which is infintely more entertaining than the truth (i.e., him covering up his fuck-ups (his first 2 kills) by intentionally fucking up more (killing with intent) AND him sacrificing his peace of mind and other people's life for the sake of making the world a better place).

Light starts seeing himself as an actual God (not in a religious way tho, he sees God as the position of absolute power) wayyyy after the first chapter, namely, chapter 55 of Volume 7:

So no, Light doesn't see himself as a God after just 5 days of getting the Death Note. It develops more gradually than that.

I'm honestly surprised that you don't think that accidentally killing 2 people is enough to change someone (Light) as a person. The situation is highly stressful, if not traumatic, for any individual to come out unscathed. I do personally believe Light was traumatized (anyone Not being traumatized by that would be an anomaly imo).

Light was a good person prior to finding the Note. I wouldn't exactly call him law-abiding (his hacking skills) but yeah. You can roll your eyes, I don't mind haha

The curtains were blue because of an underlying cause or not is a debate for a reason. I just find analyzing my favorite fictional characters fun and that's a hobby of mine so there you go. I will say however that if one takes Light's words at their face value, then one's understanding of Light wouldn't be very interesting (anime!Light I'm looking at you lol).

Idk I find reading what's written on the page and passively absorbing it without employing any of our critical thinking skills boring.

As for the warehouse scene, I agree with Near. Light is just a murderer. What's different from Light (a real person in that story) laying down his motivations and me (an irl person) explaining his (a fictional character's) motives is that I'm not trying to justify any of his actions. It's fun if we understand a fictional character's personality and why he behaves the way he behaves. I'm not being his apologist or anything haha

[anbroids]

as homestuck gets older and becomes more and more of a period piece i think it’s really interesting to see how continuations and fanworks take different approaches to maintaining that or not.

and i don’t want to outright say one is superior to the other. i think if you can find ways to introduce aspects of more contemporary pop culture or politics or technology into homestuck as a framework and still make it an interesting intentional choice then that’s a big achievement and not something to be scoffed at just by virtue of it being divergent from homestuck proper.

i think in a lot of ways it can keep it fresh and add a layer of relatability to the fans that grew up on it. after all, i think hussie was intending to make (or perhaps just coincidentally happened to make) homestuck relatable to his particular demographic of young adults on the internet in the late 2000s / early 2010s. i think rereading homestuck in my 20s really solidified this to me that homestuck was not intended to be a story about kids for kids but rather a story for adults about childhood and growing up. it’s funny that it wasn’t more obvious to me back then, or maybe i did pick up on it but i just didn’t really think about it all that much? because it’s so obvious. there’s so much 80s and 90s kid nostalgia in it and the tropes that the characters portray were already outdated or at least didn’t even really exist like they used to by 2009. and in many ways the characters themselves outgrow their own tropes and then later acknowledge it in the work itself both as time progresses and the narrative develops into something more complex and the characters become increasingly multi-dimensional.

i guess it’s just an interesting question to me. is having content in a story that will indefinitely age the work a “good” or “bad” choice? and several years down the line, will we be able to tell what choices were intentionally made so that it would one day be reflective of the state of technology / political landscape / pop culture at the time?

artists who set out to make their work as timeless as possible do kind of miss out on the opportunity to be a time capsule later on. or just generally representative of the climate it was created in, which is something that i think a lot of us can both appreciate but also find pretty unsavory about homestuck proper (cough dancestors cough) but then can i really say i wish those unsavory parts of homestuck didn’t exist? idk. they aren’t fun to read but i like that they make me think critically about the flaws of that particular part of internet history.

politics aside i think the fact that there’s a homestuck panel that incorporates vine is so cool. because it sort of inadvertently swallowed up a piece of internet history that would come to disappear into its already massive time capsule of media and pop culture and hussie didn’t even know. it’s just cool to me idk.

at the same time i think younger artists and writers that really prioritize keeping homestuck grounded in its era of internet and even going so far as to honor the nostalgia of an older generation is something i really admire and appreciate. and this is something that is becoming more common as homestuck ages (and becomes more of a period piece etc etc). i often find myself at a crossroads between exploring contemporary elements in my work and trying to emulate homestuck’s original tone and time period for the sake of preserving that integrity. like man. i could go on about this for such a long time because i feel like it’s just a really interesting discussion to see what we weigh as a meaningful divergence and refreshing change from homestuck proper vs what compromises the (for lack of better phrasing lol) “feels like homestuck” factor.

i think the discussions about sexuality and gender identity towards the end of comic and then further in the epilogues is an obvious example of this. hussie didn’t necessarily shy away from nuances of gender and sexuality but he didn’t really address them outright with labels either for the majority of homestuck proper until the end when other writers got involved. in early act 6 dirk is explicitly stated as gay (insert disney diversity win meme blah blah blah) but the character himself, which i feel like is an interesting reflection of hussie and homestuck’s general feelings about the topic of identity and labels (if i may speculate lmao), considers the act of labeling his sexuality as sort of this out of date, irrelevant thing in the grand scheme of things. whether that be in reference to who he is or what’s going on in the comic or a more metanarrative choice of hussie’s. some people interpret this to be a kind of admission of shame or maybe dirk just being pretentious but i personally interpret this as hussie kind of just being like. i don’t really want to spend too much time Talking about characters being gay i just want them to exist in the story and Be Gay. similarly to how the trolls don’t have a concept of sexuality in the same way the human characters do. it gives hussie an opportunity to have characters do Objectively gay things, from the reader’s perspective, without having to spell out their relationships to their own sexualities by real societal standards in the work itself when he was clearly more interested and comfortable talking about the trolls’ relationships to their fictional societal ones. and i think as a writer i find that pretty fair. (and yeah yeah i know another aspect of dirk’s whole deal is that he’s from the future so of course he would say that / the trolls are from another planet and all of this is in comedic foil to john i am not a homosexual egbert as the protagonist but i digress. idk i’m really only speculating here and maybe projecting lol)

bc tbh i also kind of shudder at the thought of writing gay characters who are always expected to spell out their identities to the audience when i’d rather just have them Do Actual Gay Things. (using gay as an umbrella term for lgbt+ yada yada). personally i’d rather have a scene where a character binds their chest to reveal an aspect of their gender presentation rather than feel obligated to spell out their relationship to their identity in words and explicit labels and also describe exactly how they Feel About All That. not because i want to cop out on representation and have their identities be totally open to interpretation necessarily, but more-so because i think it becomes exhausting sometimes as a gay person myself to have to keep acknowledging a character’s State of Differentness as obviously as possible every time i put a gay person in a piece of art.

not that i don’t find narratives that exclusively or heavily talk about and center themselves around identity and being in a State of Differentness in very outright ways important. to me that’s something very different and meaningful in completely different ways that can’t be accurately compared here. there are plenty of homestuck fanworks that make discussions of gender and identity a large priority that i think are extremely meaningful and one of the biggest reasons why i came back to homestuck after all these years and still really love the community of artists and writers that engage with it in this way. i think it’s an extremely wonderful thing, especially because with the homestuck community so niche, it really feels like a group of people spreading art that is, by a large majority, by gay people and for gay people. but in narratives that are not specifically centered around that, or has not centered themselves about that previously (like homestuck several acts into the comic) i can totally see how it comes across as off-putting. i think sometimes there’s a slippery slope with bigger projects with a large audience where the existence of gay characters in the work start to read as teaching tools for non-[insert identity here] or virtue signaling. i.e. it stops feeling like media that the reader can identity with as a gay person and more like media that is trying to represent gayness “accurately and positively” for a straight reader (or perhaps a gay reader who is completely new to their identity and appreciate this kind of easy-to-swallow and comfortable introduction). i find that in cases like this, the “representation” more often than not falls into the pitfall of being extremely generalized and sterilized or even stereotypical. which is a whole conversation in itself. bc when an identity is always easy to digest and understand, it risks reducing this character to the identity itself. water is wet i guess lol. idk it’s just a tricky balance. but definitely something i think about a lot when i’m engaging with contemporary homestuck fanwork.

long aside but. all of this to say. i just find it interesting to see how homestuck, as a kind of specific multimedia form of art and storytelling online that seemed to set a new precedent for the webcomic format at large, has taken on a genre of its own like any piece of art does that is unique and off the beaten path in its execution. idk it just makes me think of art history in general. like it’s fascinating to me to see something like homestuck which was once very new and fresh to me become a piece of art that has aged enough to open discussion about approaching the framework of homestuck in either a traditional or contemporary way. as a continuation or a fanwork or an homage. i guess the only point i’m trying to make here is that i don’t think one is better than the other and there’s something i appreciate about both.

i feel like i’m kind of avoiding the elephant in the room here which is that there’s a lot of discussion going on right now about maintaining consistency with homestuck proper in the current continuation with homestuck2 and that’s sort of a whole other can of worms i don’t really want to get into. but i would like to acknowledge how interesting it is that these discussions really obviously highlight how fast memes get “stale” nowadays in the current state of social media and everything seems to exist in a perpetual state of blink-and-you-miss-it virality. i really sympathize with the homestuck2 team who i’m sure are feeling a huge amount of pressure to strike a balance between making something refreshing / relatable to the current homestuck audience and also maintaining the “feels like homestuck” factor. all the while attempting to fulfill as many reader wishes as possible within reason. (not to mention the standard of “reason” being extremely subjective) it’s not an easy thing to do and definitely a hugely different creative process than the one hussie went through during early homestuck days. each with their own complicated hoops to jump through in terms of Making Art People Will Engage With.

[violetasteracademic]

Hi , do you think the Archeron sisters and Vassa will ever be truly be friends than just political allies ? I don't know how to feel about it knowing the last few months of his life where his daughters needed him the most ,he was off being a father to a stranger .

Hello my lovely Anon!

(ps to all my inbox submissions, I have fallen a bit behind but I will not forget any of you! Please be patient with me and feel free to keep sending! I love seeing your questions 😘)

My short answer is yes, I do believe Vassa and the Archeron sisters will be friends, largely because SJM has NEVER pitted women against each other (at least not for long) over the actions of a dud man. I love this old interview discussing it:

(thank you @greenleaf777 for grabbing this screen shot!)

The Archeron sisters have such a deep, complicated relationship with both parents. And I personally believe we will discover there is more to the Archeron bloodline (or at least I hope we do) because I have some QUESTIONS, and only Vassa can answer them.

How exactly did Papa Archeron know what was going on with the war? How did he know to find Queen Vassa, and understand that finding her was so vital that he was willing to make some secret bargain with a Death God to bring her to his daughters?

The Bone Carver had said his salvation lay dormant in some human bloodline. I do not think it is a coincidence that the three Made sisters were once human, and a human bloodline carries some sort of "key" to the multiverse.

I understand the depth and emotional complexity regarding Papa Archeron, and believe me- if he has no haters, I am dead. However, from a narrative perspective, I'm not sure I fully agree that he was off playing father to Vassa. I understand Vassa had that line- he was more of a father to me than my own.

However, whether or not you forgive him, whether or not you think it makes up for his failings as a parent, everything he secretly did during ACOWAR (including the bargain and retrieving the human Queen) was for his daughters, not for Vassa. And I personally need to know what the bargain was that he made. Knowing Sarah, if she isn't going to just forget about it, the reveal is going to be an absolute gut punch.

Whatever the bargain was, it was powerful and the terms were clear. In my opinion, there is no other reason for Koschei to continue to let Vassa experience some freedom. Maybe we will never learn the full truth or get the whole story, but I believe that somehow, Papa Archeron knew his daughters needed Vassa. For the war, and possibly beyond. In fact, I've even wondered if Papa Archeron was so good to Vassa because he knew his bargain would somehow save his daughters at Vassa's expense. I have no evidence for this, I just thought it would be interesting 🙈

While it is complicated, and I believe Nesta will likely have the hardest time with it, I think the Archeron sisters have yet to learn everything there was to learn about their father and his time securing Vassa. And it seems Vassa has her own issues with her father. It might be difficult, but there is actually some common ground there for the sisters and Vassa to understand each other. And I do not believe that with or without that reveal of everything Papa Archeron did for them, any of the Archeron sisters would hold it against Vassa that she saw a version of him they needed most as children.

I believe Sarah consistently chooses friendship in her writing when she can, even when it is complicated, for those who wish to do the right thing. Especially between women. And if Koschei is as powerful as everyone is suspecting, everyone is going to need each other's backs.

[onepiece-polls]

One Piece Shipping War - Round 2 Side D

MiShanks art by @oz-gauze. Check out the original post here.

Propaganda under the cut.

Propaganda for Iceburg x Paulie:

"I find the 'IcePaulie' ship in the "One Piece" fandom particularly compelling, and there are several reasons for this. Firstly, the two characters involved, Iceburg and Paulie, are wonderfully complex and engaging. Iceburg, as the mayor of Water 7 and president of Galley-La Company, is a serious, highly respected figure whose calm and composed demeanor grounds the duo. On the other hand, Paulie, one of the company's top foremen, is known for his strict moral code and boisterous nature, which provides a perfect contrast to Iceburg's character. What I appreciate most about the 'IcePaulie' ship is the potential for dynamic interactions and growth that arise from these contrasting personalities. The calm, collected Iceburg and the more hot-blooded Paulie provide a balanced character interaction, which can lead to interesting conflicts or heartwarming moments of mutual understanding and respect. Moreover, their shared commitment to their work within the Galley-La Company serves as a common ground that bonds them together, further enriching their relationship. In conclusion, the 'IcePaulie' ship, to me, is about more than just a potential romantic or platonic relationship. It's about the exploration of two distinct characters, their individual quirks, values, and the unique dynamic that forms between them. This interplay of personalities and the potential narrative arc their relationship could follow are what make the 'IcePaulie' ship truly captivating to me."

It's one of my fav ship not including the big 5 so 👉👈 It's really damn adorable and romantic, like just paulie being extremely overprotective and iceburg just loving him more everytime. And how they deal with the others shenanigans (that they love)

Propaganda for Shanks x Mihawk:

They had a massive battle at one point, when mihawk showed up on that island where shanks was relaxing shanks convinced him to get drunk with him very easily, also in the war of the best mihawk just flat out said he refused to fight shanks

Goth swordsmith & Golden retriever

Two of the most badass characters in the whole series, cat/dog energy, the fact that Mihawk specifically sought Shanks out to show him Luffy's bounty??, also Mihawk leaving the fight because he didn't sign up to fight Shanks??, I love two middle aged man who are somehow friends AND MAYBE MORE lmao

They’re so funny to me. Like seriously goth Mihawk and happy chaotic Shanks. I just think they could be so good together

Rivals to lovers -- Powerhouses -- Introvert and extrovert -- Mihawk wears red and has black hair while Shanks wears black and has red hair like ✨Color schemes✨ -- SAME BIRTHDAY YOU CAN'T CONVINCE ME THEY DON'T CELEBRATE IT TOGETHER

They are rivals. They are besties. They are so friggin gay for each other. It's DILF love.

what if we were both swordsmen but you lost your arm to save the future king of the pirates so i have remained SOOO bitter about it but then find out the kid u saved has a promising swordsman so im less bitter so i go drink with you and you force me to ditch my wine for booze but it works because you care about me despite my solitary life so we remained long distance bfs and think about each other constantly. is that something

Mihawk being a recluse but going out of his way to visit his bf regularly is proof enough

[ladyluscinia]

Tell me if you've seen this one.

You're watching a romcom. A beautiful woman with a wealthy, city-boy fiancé goes to visit family in a small town. (Let's be honest... It's Christmas. It's basically always Christmas.) While there, she has an instant connection with the film's hot small-town love interest and starts reevaluating her city life. Does the fiancé work too much, or not like dogs? (Does he not understand the joy of Santa Claus?) At the movie's end, she makes a dramatic choice to break off her engagement, quit her job, and move back home to date the guy who was obviously the only love interest in play all movie long.

It's a very standard romcom love triangle.

It's also the kind of love triangle that OFMD is setting up, with Izzy and Stede antagonizing each other and representing two possibilities for Edward to choose... all the way down to how the final choice has been pretty obvious from the start. He's going to end up with Stede. (And hopefully have an overall better written arc than the one described above. That's a standard romcom, but not often a good one!)

Now, this works because love triangles are a narrative tool. They can be purely a source of shipping drama (especially in a drama genre) like tumblr fandoms seem to define them as, but that's only one variation, and far from the most interesting. Or even, I would argue, the most common.

So let's get into what love triangles actually are, and how this applies.

---

I would say most stories - especially character focused ones - use a love triangle as a way to take an abstract choice the protagonist needs to make, and give it some grounded symbolism in the love interests.

Hell, even in its most basic forms, there is a reason the most classic love triangles are a man choosing between Good Girl "Betty" vs Bad Girl "Veronica" or a woman choosing either the Respectable Gentleman or the Sexy Scoundrel. Which love interest the author makes endgame will correlate pretty strongly with whether the story ends on social conformity or encouraging passion, and social conformity always has the edge. This comes through even when the character differences are mostly personality, but it will get a lot more blatant if something like "finding a spouse" is a major plot point and we start getting material concerns like finances involved.

OFMD, though, is not really being basic about this - the ship for a "social conformity" option has long sailed, for one - so what are some more complex choices?

First, we can loop back to the small town Christmas romcom from the start. The men are potential lifestyles. The protagonist starts in very career / finance focused place with a partner from the same. They won't have children or be planning for them. The new guy is small town living - community, family, holidays, etc. He's got a respectable working class job. Maybe a kid. He'd be traumatized by an urban public transport map but he can probably ride a horse. These movies are targeted at small town housewives, so the "better" lifestyle is that one.

Or, another great example, the options can symbolize political or moral values. This also gives you a nice out from the love triangle when one love interest proves their unworthiness by finally crossing a line the protagonist won't. The Hunger Games had shades of this and fans definitely picked up on it (though I definitely remember being a "ditch them both" truther myself, lol).

And what about character growth? This can come into play when a story is about a protagonist fixing their life or self-improving. It's why - seemingly paradoxically - the established relationship is almost always expected to lose out to the new person in their life, despite being, well, established. They end up paired with the one who knows them as who they are becoming, not who they used to be.

...I think I've made my point about symbolism.

So. Back to OFMD! You'll probably notice all of the above could apply to BlackBonnet - Stede being the better lifestyle and values is kind of his whole thing, what with the acceptance boat culture and all (even if Stede himself needs to work on practicing as he preaches). Plus Edward is on an arc of self-improvement to fit into that culture. This is why absolutely nobody is going to be shocked that he doesn't end up with Izzy. But I do think (or at least hope 🫠) that the writing is good, and that's probably going to entail a bit of complexity in the choice.

The choice being "Stede, Stede, 100% definitely Stede, why would I even hesitate?" is rather boring. Especially since they have to make Edward hesitate so the show has a plot and stakes, and that's how you get plot contrivances and drawn out drama between two people (despite framing them as perfect for each other).

Conversely, if choosing Izzy aka his current life (the competing love interest angle is barely subtextual with the wife comparisons) actually has some appeal for Edward, then even though the endgame is obvious, it still makes sense why he's hanging back. It gives him a conflict with Stede / Stede's life that can take time to resolve, and one that will slot really nicely into the main story beats of a romcom. Edward is struggling a lot with identity, so tying the two men to different aspects he needs to choose between for himself is very compelling. (I'm just gonna drop my main Edward meta here.)

And, finally, how they handle the choice part is going to inform what they do with Izzy once Edward picks Stede. Yeah, there are the love triangles that make the bad option a horrible person, destroy their life, and skip away to the happy ending, but those can be kind of fucked up? And I think an unsympathetic ending for Izzy is unlikely for a few reasons... But that's a different meta.

(Maybe they should just OT3 for us??? 😆)

Anyway... This is why anyone starting from the stance that OFMD is not doing a love triangle because there's not actually a chance of BlackHands endgame has fundamentally misunderstood the argument being made, which unfortunately has been a common point of dispute. And with Season 2 coming I imagine it will come back with a vengeance, so I'm getting this out of my drafts now. 😘

Here's to love triangle shenanigans!!!

[ckret2]

I think Bill and Dipper's dynamic would be like... Bill says some "fun fact" that *sounds* believable and might even be useful knowledge if true, but there's a 50/50 chance he's making shit up so Dipper is forced to waste time fact-checking him. Bill thinks it's funny, plus it keeps the kid busy and out of his way. Dipper thinks it's annoying but there *has* been some genuinely interesting and useful information so...

No doubt, that's gonna be some part of their dynamic—although, considering Bill's currently a prisoner desperately trying to convince his captors that they don't really want to kill him, it would probably be more like "keeps sharing fun facts that sound suspicious, but to Dipper's frustration, they keep turning out true, so Dipper keeps waiting for the other shoe to drop and Bill is amused by the fact that Dipper's sooo annoyed at him for not lying."

But like—that's a surface-level dynamic. It's a dynamic Bill can maintain without putting more than two seconds of thought into Dipper as a person. It's a dynamic Bill could just as easily strike up with the mailman and he'd feel the same about it.

Bill's got rich, interesting dynamics with Mabel (Bill, projecting: "She's so fun, she's just like me!") and with Ford (Bill, still projecting: "He's just like me but in completely the opposite way than Mabel is!"), and even with Stan (they make eye contact and realize that they're like each other in the ways Bill doesn't want to acknowledge or think about, they have have an ongoing dynamic based on Bill trying and failing to minimize Stan's importance overall as a person and his importance in Bill's life narrative).

Bill's gonna get stuck in a giant robot with Fiddleford for several hours while they drag each other's terrible life choices and Ford awkwardly stares out the window third-wheeling their argument, and they don't escape until they've angrily shouted things they wouldn't even admit to their non-existent therapists.

Bill gets an arc with Robbie that involves them being astonished to suddenly see each other as equals with shared issues and that causes them to mutually grow and mature as people. Robbie. Robbie.

With Dipper, though? The best I've got is still variations on "Dipper is irritated" and "Bill finds it funny that Dipper is irritated" and "Dipper tries to irritate Bill back." Shallow, surface-level. Things like "Bill gives Dipper fun trivia" doesn't in and of itself open up deeper interactions. What would it take to get them to talk with each other rather than at each other? What would it take to get Bill to notice Dipper as Dipper rather than as "Mabel's boring opposite" or as "the baby Ford knock-off"? I've got events Bill and Dipper will go through together. I've got plot that causes them to interact. Dipper will have complex thoughts about Bill before the end of the fic. My struggle is in finding complex thoughts for Bill to have about Dipper by the end of the fic.

Admittedly, Bill finding some deep common ground (whether he likes it or not) with not only all the Pines but also half the town—except for Dipper—would be really funny. Dipper spent half a summer obsessed with him, and Bill's like "so what? Your great uncle's been obsessed with me for thirty years." Dipper still has nightmares about his body being stolen, that event will stick with him the rest of his life, and Bill's like "so what? I've borrowed lots of idiots' bodies." Over a matter of weeks Bill took on such an outsized importance to Dipper's life—and Bill struggles to remember Pine Tree's real name. ("Orion? Pollux? It's right on the tip of my tongue, I know it's a human constellation, lemme see your forehead.") It's so, so funny if Bill looms so large in Dipper's mind and Dipper's barely a blip on Bill's radar. And by "funny" I mean "really tragic and a damning example of how casual Bill is with his cruelty."

But like, as funny ("funny") as that would be, I'm not content to leave it like that through the end. At some point, Bill has to see Dipper with open eyes. Figuring out how to do that in a way that feels natural/authentic, and interesting to me, and without leaning on Dipper's similarities with a character Bill's already more emotionally invested in (I'm looking at you, Ford), is an ongoing problem I'm working on.

[idontwanttospoiltheparty]

Interested in your perception of Julia Baird’s portrait or Mimi vs more common narrative that Mimi rescued John from his mother Julia’s irresponsible parenting. I go back and forth between vilifying Mimi and considering that it might have been a challenging situation if Julia Baird’s dad was alcoholic and didn’t want John around. Although I lean towards holding Mimi accountable for getting social services involved to take away Julia’s custody rights….

First off: obligatory "It was a different time", except I do want to emphasize it, because it's not only to contextualize some of Mimi's behaviour that a lot of people might classify as emotional abuse nowadays, but because it affects literally all of this. Social mores dictated the actions not just of Mimi but of all the Stanley sisters, who in my view all enabled the situation to get as far as it did. And, most pertinently, I don't think people at the time really understood how damaging it is to all parties to separate a child from their parents (and tbh, especially their mother). My main takeaway from the whole situation, as well as what I've learned about "difficult homes" since, is that taking John away from Julia should have been an absolute last resort, unless there was extremely concrete evidence that Julia was being highly abusive towards him.

(and I do mean highly abusive. It, for instance, would not have done Paul and Mike any good to be separated from their father, even if Jim put them through hell at times [though of course, the extent of the abuse they suffered is debatable]. These situations are terrible all-around, but from what I can tell – and what I think John's story shows – breaking apart families is very rarely the best course of action.)

"But Julia was making little John share a bed with her and Bobby Dykins!" – okay, I see how this is potentially a problem, though it's from what I can tell entirely (implied? I don't know that she went so far as to say it out loud) conjecture on Mimi's part that John was made to witness adults having sex. In my opinion, the first course of action here should have been to help Julia out by acquiring a separate bed for John.

I recognize that Julia was probably often irresponsible and, from what I've read about her, I suspect she at times struggled with parenting in way similar to how John would later on – not due to a lack of love, per se, more due to a helplessness in the face of the true burden of taking care of someone and a difficulty comprehending the seriousness and scope of child-rearing. That being said, it's hard to fully blame her when she had her toddler taken away – because of her own sister, as you mention – and had to give up her second baby for adoption. That's twice-over the worst trauma a mother could endure* so it seems natural to me that she would have attachment issues with John later on. Again, helping Julia with her parenting instead of denying her the role of mother seems to me the best course of action here. (Oh look, it's my nuclear family take rearing its head again.)

*some people happily give up babies – I don't have much reason to believe Julia was one of them.

I also think Mimi thought she was doing the right thing and her decision to take John in admittedly made more sense when Uncle George was still alive. This is where the "It was a different time" comes back in, because it would be unfair of me to expect her to understand all the complexity I've been describing. I don't know that I believe Julia Baird's claim that Mimi instigated the entire situation so she could have John for herself – but there is perhaps a middle ground here, where Mimi loved her nephew a lot, felt no one was taking care of him the way she believed he needed, and let that blind her to the damage she was going to inflict by interfering the way she did.

It's difficult to fully assess Mimi's impact on John, because it seems the abandonment issues his early childhood instilled in him made him particularly loyal to her. Mimi was, if nothing else and above all, steadfast. (You can draw a parallel here to Yoko, though that's another discussion.) You aren't gonna find a ton of statements from him condemning her, and I definitely don't want to discount the genuine love they both had for each other. I appreciate that she didn't have an easy task, bringing him up, especially after being widowed, and I appreciate that she came through for him in significant ways.

The thing that motivated my (somewhat callous) post last night, was this:

"You wonder why John didn't have the strength to just say 'Look Mimi, I'm moving in with Mum.'" JULIA BAIRD: "Hm. Well, I remember the– a particular row in the kitchen, where he was going back [to Mendips] after the school holidays and he was crying. And my father [Bobby Dykins] said 'That's it. That's it. I've had enough. You stay here. I'll go and see Mimi. I will sort this out once and for all.' And John said 'Nononono, nonono. I've got to go. Don't tell Mimi.' That was another refrain [?]. 'My dream's out.' and 'Don't tell Mimi. Don't tell Mimi, don't tell Mimi.' She was fearsome, I can tell you. Fearsome." SOURCE: I am the Eggpod, Episode 100, 00:49:49

What I hate about the above quote the most is how often John, even as a teen, is conceptualized as this free-spirited rebel*; but looking at this, it hits extra hard that he was a child who had virtually no power in this situation the adults around him put him in.

*and writers like Mark Lewisohn are definitely not off the hook here; one of the things I find the most questionable about him as a biographer is that, despite his painfully obvious bias towards John, he still fails to contextualize huge chunks of John's childhood, preferring to defend Mimi at all cost.

Now, it does seem like there's some he-said/she-said going on regarding how much Bobby Dykins and John got along. I don't think John spoke super highly of him, but I also don't recall him expressing any larger issues with his pseudo step-father. Yes, Julia Baird is probably biased towards her own parents, but here's the thing: don't most of our pro-Mimi accounts come from her? Is John an unbiased source on the aunt who raised him?

So why should Julia Baird – whom I consider to be one of the most empathetic characters involved in Beatles history; rarely have I seen someone so interested in truly understanding their own family history, considering the cultural context, tying in her experience as a teacher in special needs and talking to multiple people to gain a fuller picture, even when a lot of it must've been incredibly painful for her – be seen as a less trustworthy source than Mimi – who we know has a history of editing stories to suit her:

I [Hunter Davies, the Beatles' official biographer] sent [the manuscript of the biography] to Mimi and she had hysterics. The chapter about his childhood came back with almost every paragraph heavily crossed out or amended. In the margins she had written beside John's own quotes such things as 'Rubbish', 'Never!' She denied so many of John's own memories of his childhood, especially if they contradicted her memories of the same people or events. She was against his use of bad language, as she maintained John had never sworn when he was little, and didn't want stories about him stealing. SOURCE: The Beatles by Hunter Davies, 2009 Introduction

The only thing Mimi has "going for her" as a source is that she was an adult and not a child when these events transpired. I think that's fair enough, and I do believe there are details to this story Julia Baird and we the public will never know, which made Mimi's decisions seem more justified to her and to her family. But that doesn't stop me from largely condemning most of the decisions made, even though I suspect Julia did at least on the surface agree with them.

[h-worksrambles]

How to get into Echo

I’ve been posting, reblogging and writing about Echo quite a lot over the past few months. I don’t think it’ll surprise anyone when I say this is one of my favourite games I played in 2022. But I’m sure some of my followers are looking at these posts and wondering what exactly Echo is. God help you, some of you may actually want to try it out. So to give myself an additional excuse to talk about this game, here’s a short spoiler-free guide to getting into Echo and its assorted spin offs.

What is Echo?

Echo is an indie horror visual novel following a group of anthropomorphic animals and former childhood friends whose reunion in the town where they all grew up quickly grows awry. You play as a 21 year old otter and college student, Chase Hunter, who returns to his old home to investigate the town’s history and reunite with his old friend group, only for things to go very wrong, very fast. The game explores a mix of psychological and supernatural horror as the characters are forced to confront their pasts, their inner demons, as well as their fractured interpersonal relationships as they attempt to unravel the truth behind the town.

The game uses a route system common in visual novels and plays with the tropes of dating sims in particular. About 2 hours in you pick a dedicated route for one of five characters, each one of Chase’s oldest friends, and follow their personal narrative making choices as you go. Each route has a pretty hefty amount of content and several have multiple endings. Depending on individual reading speed, seeing every route could take around 25 hours give or take. And it’s highly recommended to do all of them to get the full story. Very little content is repeated between them and they’re all substantial worthwhile stories.

That’s the basics of the basics in order to give you the lowdown without spoiling anything. But just know that the game is free to download, and is absolutely worth it if you’re interested in expertly written slow burn horror, intelligent character writing, and complex, flawed LGBT+ characters.

Anything I should know going in?

As much as I want to reccomend Echo there are some important qualifiers before going in.

1) This game is NOT SUITABLE for those under 18. Echo is a exceptionally dark horror game with numerous topics of adult subject matter. It is clearly marked on its download site as 18+ so pay attention to that warning.

2) Building off my last point, the thematic material of this game is heavy, and it’s important to give proper content warnings. There’s frankly a lot of ground to cover but the biggest warnings would be: Graphic depictions of violence, descriptions of sex, as well as portrayal and discussion of sensitive topics including homophobia, racism, drug addiction, mental illness, emotional abuse, sexual assault and torture.

Take the developers’ advice and be considerate of your own mental well-being before starting the game. There is no shame in deciding this isn’t for you.

Any advice on how to go about playing?

Honestly the best advice is to go blind. Make whatever choices make sense to you in the moment, and be sure to save regularly, so you can go back and try different outcomes. Several of the routes have multiple endings so keep plenty of saves handy to pick up where you left off and experiment with the game’s choice system.

There is some dispute among fans about recommended route order. I maintain that you can play the various routes in any order and enjoy the story regardless, so just go for whichever of the main characters you think is interesting to start with. By the time you play every route, you should understand everything no matter the order. The route split is very clearly signposted so you’ll know it when you see it. However, if you’re having a hard time deciding, the developers have suggested following the routes in the order they were completed back when the story was being periodically released in updates during the game’s beta. That order being:

1) Carl. 2) Leo. 3 ) TJ. 4) Flynn. 5) Jenna.

But again, feel free to divert from this order if you’d prefer.

You can download Echo at itcho.io for free.

I finished Echo. What do I look for next?

The first thing I would say is once you’ve finished all the routes, click on the image of the lake on the title screen. There’s a bonus menu there with some content that, no spoilers, you’ll probably want to check out when you’re done with the game.

After that there are three other spin offs of Echo I would suggest looking into if you’re hungry for more. And I’ll go into each of them one by one here.

It’s also worth remembering that all three of these titles are also 18+ and two of them are also full on horror titles. As such, many of the same content warnings still apply.

Route 65

This is a short prequel visual novel that shows a point in time where the main characters were all teenagers. Specifically, it follows Chase, the protagonist of Echo, over the course of the day he comes out to his friends and family as gay. This gives you a chance to see the cast at a younger age and get insight as to how their dynamics used to work compared to how fraught they are in the present day. It’s very short, only taking a couple of hours to complete, with a few minor choices to provide replay value. However, it’s really just a minor slice of more Echo content. Not particularly essential but a good way to give minor details of the main game more context.

When should I play Route 65 if it’s a prequel?

That’s really up to you. Route 65 provides enough context that you could concievably play it first, and then move onto Echo. However, I’m not sure I would advise this. You certainly can still follow the story, but Route 65 was made while Echo was still ongoing, and expects you to know these characters already. Some people suggest actually stopping midway through Echo and playing Route 65 partway through, usually before either Leo or Jenna’s routes, as it covers topics that their routes will build on. 

However, if jumping between games like that sounds confusing, I would suggest simply checking it out after you finish Echo to get a little more context. There’s different ways you can go about it, and it’ll work fine whichever way. Route 65 is also free to download on itch.io.

Arches

This visual novel is a sequel to Echo, set five years later. It follows two new protagonists, young couple Cameron Wilson and Devon Ortega. They visit the now almost completely run-down town of Echo due to Devon’s interest in the paranormal. They quickly learn that the town’s reputation doesn’t even scratch the surface of what goes on there, and must come to terms with their own secrets (some of which they haven’t even told each other) if they want to get out alive. Arches is a relatively distant sequel to Echo and does not explicitly follow on from the ending of any one route so far as we know. It’s most commonly interpreted as an alternate timeline which doesn’t undo any of Echo’s possible outcomes. But it does revisit places, characters and concepts from Echo so you should still play that game first to better understand Arches.

The main difference between Echo and Arches is that Arches is much smaller and much more linear. Currently it has absolutely no choices. It has all the aesthetic elements of a visual novel but you simply read it like a book and can save to pick up wherever you let off. However, I would suggest clicking on the image of Cameron on the title screen at some point after you start. You’ll know why when you see it. Another important thing to remember is that Arches is not currently finished. The story gets periodic updates every few months with a new build. If you choose to get up to date now, be prepared to wait for the rest. I know some people prefer to wait until these kinds of stories are done and read it all at once, and others like to follow along. However, whichever choice you make, Arches is already well into its climax, so you won’t be waiting too long for the ending either way. 

Regardless, this chilling sequel is there and ready on itch.io if you want to see what happens next in the town of Echo. Or if you feel like going back instead...

The Smoke Room

Last of all is this ongoing prequel visual novel. Set in 1915, 100 years before the events of Echo, the player follows Samuel Ayers, a character whose name, if you’ve played Echo, should be more than a little familiar. Sam is barely getting by as a sex worker in Echo, but one evening, sets out on what he thinks is his one chance to leave the town behind. When the plan quickly goes awry, Sam is left stranded in Echo, carrying a dark secret that could get him sent to the gallows. Sam’s only real option is to lie low with help of one of his clients, unaware that his secret is only one of many lying at the heart of Echo, which now threaten to disastrously boil over.

While still a horror game, The Smoke Room also has a much more overt romantic element, though I still wouldn’t exactly call it a dating sim per se. If Echo is a deconstructive horror game disguised as a dating sim, Smoke Room is more of a horror/romance genre hybrid. Like Echo, the game operates on a route system. After about an hour or so of gameplay, you choose one of a group of four characters, each of whom are one of Sam’s clients. They all have a fully fledged story to follow while also being very much the love interest of their respective routes. While it’s unclear how long the full game is going to be, it’s likely to be at least as long as Echo once it’s finally complete and even now there’s a decent amount of content on each route already should you wish to get caught up now. Still, even at this early stage, so far it’s offered the same mix of effective gradual horror and intelligent character writing and I would still absolutely recommend it.

Anything I should know going in?

1) Once again, this game is NOT suitable for those under 18. Much like Echo and Arches, The Smoke Room is a horror game, one just as dark, if not darker than its contemporaries and all the same content warnings apply, including graphic violence, discussions of racism and homophobia and drug addiction, as well as references to abusive relationships and sexual violence. Another thing to note is that The Smoke Room is also substantially more sexual than the previous Echo VNs. You might have guessed as much when I said the protagonist is a sex worker, but suffice to say this is a pretty major part of the story and there are multiple, very graphic sex scenes between its male characters on each route. This is hardly unprecedented in visual novels, but it is worth mentioning it as something to know going in if you plan to try it yourself.

Take all of these matters into account before playing the game yourself.

2) Much like Arches, The Smoke Room is still under development. According to the developers, each route is, at most, halfway done, and it will be a substantial amount of time before the game is complete. The development will likely be far longer than Arches, so if you want to get caught up now, you’re in for the long haul. While personally I would highly recommend it based purely on the quality of what’s already there, (similar to something like Deltarune), it’s worth keeping in mind before you start.

3) One other thing to note is that, being set 100 years prior, The Smoke Room is only a very remote prequel and can actually be played standalone. I’d certainly suggest playing this after Echo as there are certain details you’ll notice as a result, but if you want it start with Smoke Room, you can.

2) Any advice on how to go about playing?

For the most part, all the same advice as Echo applies. Go in blind, save regularly and be extra sure to save at any choices. Even at this early stage, The Smoke Room has already implemented a number of branching decisions into its routes, arguably more so than Echo. So be sure to make enough saves that you can experiment with all the different outcomes as there’s already a lot to see.

Much as with Echo, there is the question of route order. Fortunately, at this stage, that’s a pretty flexible arrangement. Since none of them are finished and are being updated concurrently, there’s no fixed order of release and none of them have really overlapped enough to make any route order really preferable. However, the developers have suggested doing William’s route last out of the four. While largely standalone, it features many of the characters from across the other routes and somewhat brings the threads of the other stories together, kind of like Flynn and Jenna’s route did in Echo. Other than that, I’d just start with whoever you find interesting. But as a possible order if you’re stuck, you may consider:

1) Nikolai 2) Murdoch 3 Clifford 4) William

Though again, this is very flexible.

3) What’s this I hear about an AU?

Ah yes, this is another aspect of The Smoke Room worth checking out. Currently, Echo Project have released two downloadable ‘special episodes’ featuring the main cast of The Smoke Room reimagined in the modern day. For as much as Smoke Room is a supernatural horror, it is also just as much a period drama, exploring how the various struggles of the characters are exacerbated by the circumstances, social climate and prejudices of the time in which they live (being queer wasn’t any easier in 1915 after all). As such, this AU places the cast in a more contemporary setting to show how a happier, more hopeful outcome for how their lives could have gone. Basically, it’s like the kind of coffee shop AUs you see all the time on AO3, except this one is made by the actual creators. As of now these are just light hearted slice of life stories with these characters, one being a Christmas special and the other a summer special and outside of strong language and suggestive themes, require no major content warnings. At present, nothing about this AU is canon or significant to the main game, you don’t have to play any AU content to understand the main story. This exists purely to have some cute fluff with these characters if you enjoyed them in the full game.

Like all other Echo Project VNs, you can download the latest build of The Smoke Room from itch.io.

And that’s all the advice I have into getting into Echo and its expanded universe. These games mean a lot to me, from their stories, to their characters and of course, their horror. They’re definitely niche experiences and I wouldn’t recommend them to everyone. But if my content about them here has peaked your interest, I hope this helps you make a start on these remarkable games for yourself.

Who knows? You may just find yourself moving in circles thinking about these game, just like the rest of us…

[of-void-and-stars]

Wheel of Time and Cosmere fanworks auctions in Fandom Trumps Hate

Here’s an overview of the offerings in the Wheel of Time (both books an tv show) and Cosmere fandoms for @fandomtrumpshate this year. Not familiar with Fandom Trumps Hate? In short it’s a yearly fanworks auction of which the proceeds go to charities supporting progressive causes. For the long version click below

Link to Fandom Trumps Hate - FAQ

Bidding is open and runs till March 5th at 8PM EST!

Wheel of Time - Fanfic

WoT Fanfic #1

Name auctioneer: Emjen Enla (link to auction), tumblr: @emjenwrites

Highest rating: M (Mature)

Length/scope: Less than 5k words

Minimum bid: $10

Current high bid: $20

Books or show: Book canon only

Especially interested in:

Characters: Moiraine, Galad, Egwene, Cadsuane, Aes Sedai in general, Logain, Lan, Rand if you're asking to whump him

Ships: Moiraine & Lan, Galad/Bornhald, Siuan/Leane

Other: positive portrayals of the Aes Sedai, Rand's unhealing side wound, the taint on saidin

WoT Fanfic #2

Name auctioneer: Roccolinde/Fire_Sign (link to auction), tumblr: @firesign23

Highest rating: E (Explicit)

Length/scope: Less than 5k words

Minimum bid: $5

Current high bid: $100

Books or show: TV canon only

Especially interested in:

Characters/ships: Anything centred around Lan, Nynaeve, and/or Moiraine, platonic or romantic or pre-romantic.

Other: Power/Battle couple dynamics and competence kink, exes/second chances/second loves, prickly characters being vulnerable, female characters finding common ground, snark and banter, character-driven stories/smut, hurt/comfort, narrative gender fuckery of all types, shifting power dynamics where they are both aware. Tenderness, vulnerability, and the mortifying idea of being known. I adore complicated and nuanced takes on the character's relationship with gender and identity, and lines getting blurred there.

Wheel of Time - Fanart

WoT Fanart #1

Name auctioneer: milesofheart (link to auction), tumblr: @miles-of-heart

Subtype: Drawing/painting/etc.

Highest rating: M (Mature)

Length/scope: A digital oil painting recreating a famous painting, but with blorbos from my shows

Minimum bid: $20

Current high bid: $20

Books or show: Unspecified (presumably both)

Especially interested in:

Ships: I prefer to stick to canon pairings & relationships.

Other: Most interested in paintings that tell some kind of story, or there are strong vibes between the chosen characters and the themes in the original masterpiece. Color palette and postures also need to vibe for it to work. My experience is mostly with American and European painting styles, but I'm open to considering others.

WoT Fanart #2

Name auctioneer: MxCaptain (link to auction), tumblr: this is me, hello, you’re here!

Subtype: Pixel art

Highest rating: T (Teen)

Length/scope: Pixel art of up to three characters (dependent on complexity - ie I'll do one detailed/complex character or up to three simple ones) of your choice, with a simple background (think solid colour, repeating pattern, gradient, simplistic landscape) I will do one character sprite + a simple background for the minimum bid of $10, additional characters (up to two extra) for a minimum of $5 each. <- The strike through part is actually an old thing that I failed to delete before the auction went live! Feel free to reach out with what you have in mind, I am quite flexible.

Minimum bid: $10

Current high bid: $20

Books or show: Both!

Especially interested in:

Egwene! But again hit me up with other stuff as well :D

Cosmere - Fanfic

Cosmere Fanfic #1

Name auctioneer: Ternary (link to auction), tumblr: @ternaryflower53

Highest rating: M (Mature)

Length/scope: Less than 5k words

Minimum bid: $5

Current high bid: $20

Especially interested in:

I love exploring trans identity and aspec identity through fic (and I am okay with this including external sources of queerphobia). I'm a huge sucker for hurt/comfort and found family feels. I'd love an excuse to play with non-standard omegaverse, which has been on my list of things to write forever.

[eccentric549]

Edge of Destruction

A serial blissfully taking place exclusively on the TARDIS. This was easily my favorite episode of the first season. Which surprises me because it's the shortest. But it also is the most emotionally grounded. And the most stressful. IF YOU HAVENT SEEN THIS EPISODE GO WATCH IT, I WILL BE DISCUSSING SPOILERS. As it's impossible to discuss the gravity of the situation without talking in depth about the mental states of our characters as events progress

The TARDIS, while taking off from Skaro, experiences an unusual malfunction and explodes, knocking everyone unconscious. Barbara is the first to wake up, followed by Susan, and then Ian. The doctor hit his head in the fall, Barbara bandages it, and then everything begins going to shit. That's the opening premise.

The scanner isn't working, and the door keeps opening and closing. Susan has a lapse of memory and a distinct pain on the back of her neck and bouts of fainting, followed by some of the most unsettling and viceral moments where she lacks bodily autonomy and brandishes scissors.

Worse of all the Doctor blames Ian and Barbara, and NOW, as promised, I get to talk about The First Doctor. He is a classic narcisist. A problematic one at that. He is so determined to be right and to stick to the knowledge he currently abides that any suggestion other than his own MUST be impossible. Any time barbara suggests something it's "Illogical" or "Impossible". And he has been doing this for EPISODES now. He deduces that in this case, Ian and Barbara are strangers and want to be taken back to england. Therefore, they are the only plausible explanation for the malfunction. Despite several key facts he conveniently overlooks to sell his own narrative to himself.

1. Ian and Barbara have only been on the TARDIS for 2 adventures, and prior to those couldn't even concieve of the kind of technology they were in the presence of. So how could they sabotage his TARDIS?

2. (And this is brought up by barbara.) They literally saved the doctors life in both of the adventures thus far, with Ian making fire for Za. And literally the entirety of The Daleks. WHERE HE LITERALLY LIES TO THEM SO HE CAN EXPLORE AND NEARLY KILLS ALL OF THEM. He takes no responsibility. He takes no accountability. And he refuses to be told he is wrong.

This reminds me heavily of a 4th doctor episode i just recently watched (The Face of Evil). In it there is a quote from.the doctor that I'll use now with a touch of irony.

"You know, the very powerful and the very stupid have one thing in common. They don't alters their views to fit the facts, they alter the facts to fit the views, which can be uncomfortable if you happen to be one of the facts that needs altering."

This is the First Doctor at his most callous and most disrespectful to his companions. And the burden of this stress is placed directly on the shoulders of Ian and Barbara and the mildly impressionable Susan. Who is in an active state of distress and paranoia partly being unable to control her body and mind. What a horrifying situation we find ourselves in. And it is INTENSELY interesting.

These 4 actors and actresses hold my attention like flame to an asbestos filled apartment complex. While they tip toe on eggshells, trying to save their lives from a danger they can't possibly comprehend.

Now, i've talked a lot of shit, but i've got good news. The Doctor Apologized: Kinda. At first, after the problem is resolved, he tries to feel clever, but ian and barbara are less than impressed. He waffles for a bit, which pleases Ian. This is because Ian doesn't really want an apology. He wants to know he was right, to feel vindicated. The doctor stammers, so he accepts that as approval. While Barbara wants to be respected and treated fairly, and he did none of them across this episode. And as he tries to duck out of apologizing, barbara can't take anymore. So he is forced to confront his behavior and find the words to apologize to her properly. He will fail a few more times before he gets it right. But she sees that he is sincere even if he is bad at this part of relationships. This is the first step toward being the person we will all know and love him for in the coming generations. Truthfully, at this stage of his life, he isn't that attached to the complexity of humans. Here, he takes a first step. In later episodes, we will continue to see him soften up. We will see him begin to learn from his mistakes and adapt.

I loved this episode. It was a great deconstruction of these characters and an amazing way to learn more about them while giving them time to shine. Brilliantly packed into two tight episodes of nonstop nailbiting stress. WATCH THIS EPISODE.

[livelovelifeagain]

Modern Love: The Best Relationship Coaches for Contemporary Couples

In the rapidly evolving landscape of modern love, the challenges faced by contemporary couples are uniquely complex. From navigating digital communication to balancing career ambitions with personal relationships, today's couples require more than traditional advice to thrive. As Yusuf Bohari, recognized as the best relationship coach in Oman, I have seen firsthand the transformative power of tailored coaching in addressing these modern challenges.

The Digital Age and Relationships

One of the defining characteristics of contemporary relationships is the pervasive influence of digital technology. While technology offers unprecedented opportunities for connection, it also introduces new stressors. Miscommunications via text, the distractions of social media, and the pressure to present a perfect online persona can all strain relationships.

As the best relationship coach in Oman, I emphasize the importance of mindful communication in the digital age. Couples need to develop strategies for maintaining genuine connections, both online and offline. This involves setting boundaries for screen time, prioritizing face-to-face interactions, and cultivating digital literacy to interpret and manage online communications effectively.

Balancing Ambitions and Relationships

Modern couples often face the challenge of balancing their career ambitions with their personal lives. The pursuit of professional success can lead to long hours, frequent travel, and high levels of stress, all of which can take a toll on relationships.

In my coaching practice, I work with couples to identify their core values and create a shared vision for their relationship. This process helps them align their individual goals with their partnership, ensuring that both partners feel supported in their personal and professional endeavors. Techniques such as time management, prioritization, and stress reduction are essential tools that I teach to help couples maintain a healthy work-life balance.

Embracing Diversity and Inclusivity

Today's couples come from diverse backgrounds, and many are navigating cross-cultural relationships. These relationships can be incredibly enriching but also require a nuanced understanding of each partner's cultural norms and values.

As the best relationship coach in Oman, I have extensive experience working with couples from various cultural backgrounds. I help them explore their cultural differences and find common ground. This involves open and empathetic communication, cultural sensitivity training, and the development of a shared cultural narrative that honors both partners' heritage.

Managing Modern Stressors

The pace of modern life introduces a variety of stressors that previous generations did not face. Economic pressures, environmental concerns, and the rapid pace of societal change can all impact a couple's well-being.

In my role as a relationship coach, I provide couples with tools to manage these stressors effectively. Mindfulness techniques, stress management strategies, and resilience training are integral parts of my coaching approach. By learning to navigate external pressures together, couples can build stronger, more resilient relationships.

The Role of Individual Growth

In contemporary relationships, the importance of individual growth cannot be overstated. Partners need to support each other's personal development while also nurturing their bond.

I encourage couples to pursue their interests and passions, as this leads to a more fulfilling partnership. Personal growth can include pursuing hobbies, furthering education, or engaging in self-care practices. By supporting each other's individual journeys, couples can cultivate a dynamic and evolving relationship.

Building a Supportive Community

Another crucial aspect of modern relationships is the need for a supportive community. Couples benefit from having a network of friends, family, and mentors who can offer guidance and encouragement.

As the best relationship coach in Oman, I help couples build and maintain these support networks. This involves fostering healthy relationships with friends and family, seeking out mentors, and participating in community activities. A strong support system provides couples with additional resources and perspectives, which can enhance their relationship.

Conclusion

Modern love requires modern solutions. Contemporary couples face unique challenges that demand innovative and tailored approaches to relationship coaching. As Yusuf Bohari, the best relationship coach in Oman, I am dedicated to helping couples navigate these challenges and build strong, fulfilling relationships. By focusing on mindful communication, balancing ambitions, embracing diversity, managing stressors, supporting individual growth, and building a supportive community, couples can thrive in the modern world.

The journey of modern love is an evolving one, and with the right guidance, contemporary couples can navigate it successfully. Whether you are dealing with digital distractions, career pressures, or cultural differences, the best relationship coach in Oman is here to support you every step of the way.

[pumpkinupsidedowncake]

Hey you're 100% right about Malevolent being ttrpg related btw. It was based off the writer's Call of Cthulhu campaign and takes place in the same universe with a handful of common characters. Also, Patreon members have a perk where we get to vote on Arthur's decisions a couple times per episode. This mechanic used to be more in-depth (with perception rolls, skill trees, and a sanity mechanic) but that was dropped pretty early on because it interfered with storytelling

Yes, but like it goes beyond just the origin and the dice roll sounds in the first episodes and the audience collaboration and all that. The way the plot beats shake out feels like they could have just happened in the Call of Cthulhu system. (I haven’t played it, so my knowledge comes from when I was researching how to run it and also indirectly from playing other ttrpgs. Mostly DnD 5e, unfortunately for my esoteric street cred.)

And that’s the bit I don’t know how to describe. Like, there’s a bunch of arcs that involve doing different things in different places instead of sticking to one type of story, which reminds me of when I was reading a series of DnD books and one was like “you know that guy you’ve been reading about? He’s on a boat now. I don’t know why either. Ocean time baby”

Like it isn’t that stark, there’s still a goal being pursued and the standard or subverted dynamic of Arthur and John, but if you tried to tell someone about all the interesting things that have happened in the podcast it would sound like you were describing all the crazy things that happened to your group in your ongoing game. “Like there was this guy with a gas mask and we stole his dead sister’s head, and there was this random baby we had that one time, and also we ended up in the Dreamlands and oh don’t even get me started on that, then we broke into this guy’s mansion after drinking at the murder inn and then we went to NYC and met a serial killer on the train ride over and then became tenants and released a horrifying entity and then” et cetera et cetera (that’s where I left off last).

Like other podcasts can become that way too, but they seldom feel like that when you listen to them. So much has happened in Malevolent that even though we’ve been following the same person throughout, I regularly forget all the shit that’s happened to him. It’s a different vibe than Juno Steel or Archive 81, maybe because the narrative focuses are different?

Like Archive 81 builds up a strange world with rules different to our own just out of sight to most, and each season feels different, but it’s more about the world than any one character. It’s them getting shaped by the strangeness and adapting and sometimes wishing they hadn’t and the choices offered never have a clear meaning until you’re knee deep in the consequences, maybe not even then.

Juno Steel has a clear narrative style, and that’s what I think of first: the character we’re focused on adding their thoughts and context to whatever’s happening “onscreen”, a la film noir or at least the improv game of that title. I am uncultured. The story feels constructed and clear and grounded, even though we are on Mars and impossible things are happening. (This is another one I’m not caught up on, but the focus seems to continue to be a wide range of characters and their motivations and how they interact with everyone else.)

I guess typing this all out, Malevolent feels more immediate in action and consequences. The focus is on whatever Arthur is doing. When he isn’t dealing with the world’s lore or his past, we don’t hear about it. It still shapes him and the conflict he faces, but we get less insight into it than we would if he monologued about his martyr complex or learned enough about the strange Dreamland inhabitants to establish what each of their “deals” are. We either don’t stick around long enough to, or they’re important and therefore a mystery to us, or they are murdered in cold blood. In any case it isn’t really about them because compared to Arthur, they’re NPCs. They keep us moving forward, even if we’d rather stick around and learn more.

I guess it’s the focus on Arthur and John’s planning and actions combined with the way everyone else’s motivation matters less than how it impacts them, the party/investigators/main characters. Like I’m describing it in extremes but I’m not wrong. It’s the closest you can get to being a ttrpg without actually being one, even ignoring the origins and patreon voting. Those definitely add to it, especially the patreon voting and the hints you get of it even without hearing the vote-on-this-thing prompts, but if it was just that it would be a choose-your-own-adventure type deal. Actually, I realize I don’t know enough about that type of game/narrative to definitively say that.

So basically, it feels like a ttrpg in ways that it shouldn’t necessarily just based on where it gets its lore and some plot-important background characters from, even with important choices being decided on by people on Patreon. I am pretty sure this has a different style than a choose-your-own-adventure story would, but all I can speak to is how different it feels from other fiction podcasts with big worlds and lots of characters.

[ecsundance]

A Different Man: A Journey Into Exploitation

A Different Man, directed by Aaron Schimberg, was the first narrative feature film I was able to watch at Sundance and I was absolutely buzzing after the screening. It tells the story of Edward (Sebastian Stan), a man that has a facial disfigurement yet undergoes an almost miracle-like transformation that ultimately turns his world upside down. It is a film jam packed with so much symbolism, part of me wished the film was already released so that I could look into what other viewers think certain elements mean.

However, one of the most prominent themes I was really taken aback by is the subject of  exploitativeness. I won’t give away any of the details in the film, but there is a character named Oswald (Adam Pearson) who is played by an actual individual with neurofibromatosis. He was actually able to make it to the panel alongside Schimberg and he responded to some of the questions asked by the crowd, which instigated my curiosity on what it means to be exploited and how it unfolds within film. Schimberg brought up the complexity of hiring actors that have some type of disability because Hollywood is notorious for employing them to be seen as some sort of spectacle and nothing else. He explained how difficult it is to find a way to introduce actors with disabilities to Hollywood without making it about their disability or without it being exploitative and how it definitely has to do with the way that society views those who are not able-bodied. It’s really interesting to think about because I feel that at some point the same applied to actors that happened to be queer or of color, they were simply included in films to have diversity points or to be a spectacle for entertainment. However, I feel as though we have slowly but surely moved past that group of minorities when it comes to Hollywood, but we still seem to be stumped when it comes to those with disabilities and I cannot wrap my head around it. The film does a great job at exploring this, especially after Edward goes through the transformative surgery, but I won’t give away anything else. 

I stumbled upon an awesome interview by Variety in which Pearson brings up such an interesting point when it comes to Hollywood hiring actors that are able-bodied to play a character with a disability. The extract says, “...Pearson discussed how he was able to find common ground with Stan, who wears extensive makeup for part of the film in order to achieve a similar look. "This was the hook that we gave to Sebastian,” he said. “‘You don’t know what it’s like to have a disfigurement, but you do know what it’s like to not have privacy and to have your life constantly invaded. You become public property”. Although I would not consider Sebastian Stan to be a household name on a wide scale, he does have an enormous following and Pearson’s argument still stands. An actor might not ever be able to truly understand what it is like to have a disability, or in this case a facial disfigurement, but to be looked at as a spectacle every time they step out into society and be constantly talked about is a way in which they can relate to somebody that might have a disability. It is such an intricate angle to look at the subject matter, but I think Aaron Schimberg did an excellent job at telling this story in a way that was respectful and considerate of his viewers.

References: https://variety.com/2024/film/news/a-different-man-premiere-sebastian-stan-sundance-1235880973/amp/

-Manu Delgado