#they talk to each other the same way the protagonists do

[scorndotexe]

Out of curiosity, why do you dislike Midnight Mass? It's really like hear your opinions.

it's just so fucking BORING!! the concept is interesting i do find the concept interesting (vampire priest who believes his vampirism is a gift from god) but somehow it was done in the least interesting way possible. sometimes there's like a minute where i thought "holy shit is it finally gonna get better" and then i watched the next episode and it continued to be exactly the same.

all the characters are basically exactly the same. i know it's by monologue flanagan but can they at least monologue in DIFFERENT ways??? dear god. he edited it himself and you can REALLY tell. the fucking ten minute scene that's just "what do you think happens after we die? vcnvncmrnwbvnjef vdmnnc cmnennwneetnewnnwbefnbrtnbemrbermnbmrbtrtbwnrebeb" is crazy who thought that was a good idea. god every character was so forgettable i think i remember like 4 names. genuinely i see people talking about a character and i have to look them up and i STILL don't remember them. don't get me started on the fucking therapy speak. also riley flynn is the most boring protagonist i've ever seen i can't think of a single personality trait he has. i can barely think of ANY personality traits ANY characters have.

i know we shit on his adaptations a lot (as we should) and at the very fucking least he didn't ruin another excellent work of horror with midnight mass but he is NOT a good writer with his own stuff either!! it's so BLAND. even when it's not boring it's bland and uninteresting. i know i'm biased i know i watch extreme horror to find artistic value in underlooked pieces of media so i'm used to "that freak shit" but he did nothing!!! he did nothing with his vampire priest! he was literally irrelevant by the end because he gave that antagonist role to some other character and he was never really the protagonist either. he was just there for a really dumb late-game romance plot/plot twist.

it's such an unbearable show and the ending isn't even good!!! its tone is so fucking weird like everyone dies and yet there's still a weirdly hopeful tone to it. i feel like that's a moment to REALLY lean into the tragedy. it doesn't have a happy ending but it also doesn't let you feel sad enough for it to be truly tragic.

also there's like three different types of vampire in the show and it makes NO sense why they're so different from each other. i'm not asking for extensive lore i'm just asking for consistency.

it's like 8 hours long and i know i've probably spent way more than that complaining about this fucking show but still a waste of my time. it just sucks so much. it could have been an okay movie but as a whole show it's so dragged out and doesn't DO anything with those eight hours. i don't mind a slow burn i really don't but a) the build up has to be worth something and b) it has to have something really really good at the end of the build up.

honestly it looks SO good in gifs and screenshots and fanart that it makes me wish the show was better because you could have a much better experience just looking at those and imagining a good show than actually watching it.

on the plus side if you DO watch the actual show riley's death scene is the funniest shit in the whole thing.

[s0fter-sin]

i genuinely think the lov are the most human and well written antagonists in modern media

[cavegirlpoems]

I see we're talking about XP!

@thydungeongal and @imsobadatnicknames2 have interesting posts up, and now it's my turn to throw my thoughts out there. SO. I think of XP as the game itself offering you a little bribe. Do the things the game wantss you to be doing, and the game gives you an XP to say thank you. Get enough XP, and you're reward is greater a permanent bump in power, meaning greater ability to exert your will over the world and therefore greater agency. (Systems like Fate Points, Willpower, Inspiration etc work the same, except the increased agency is a temporary one-time thing, not permanent, so at times I'll lump them in).

So. Let's talk about a few different systems and how they handle this.

Let's start at the very begining (a very good place to begin). In the very early editions of D&D - back when Elf was a class - you got XP for treasure. Every gold coin you got out of a dungeon (or equivallent value of other treasure) was 1 XP. This worked well; the game wanted you to go into a dungeon and explore it for treasure, while trying not to die. If you succeeded, you got XP, which made you better at doing that so you could do it again in a more dangerous dungeon. And because treasure is XP, and treasure weighs you down, getting it out is a meaningful activity. Hell, many of these games measure weight and encumbrance on a scale of 'how many coins' to drive this home. It was a good loop. Early D&D has many faults (like the weird racism in the MM) but the xp system is something it absolutely nailed.

Next up, let's look at classic vampire the masquerade. At the end of each session, you get 1 xp just for being there, and then another if your character learned something, if you portrayed your character well, and if your character was 'heroic'. So, what's classic VtM rewarding? Ultimately, it rewards the player for being the kind of player the game wants. If you get into character, engage with the game world, and act like an interesting protagonist, you get rewarded for it. It's a bit fuzzy, and at the GM's discretion, but its very up-front with what it wants to incentivise. It was the 90s, they were still working out how to be a narrative-driven game, but you can see where they were going with it.

OK, now lets look at something a bit weirder; monsterhearts. The main source of XP here will be Moves. Rather than a bolted-on rewards mechanic, each game mechanic you engage with might grant you xp. You can use your strings on another PC to bribe them with XP when you want them to do something. Lots of abilities just give you an XP for doing a thing, such as a Ghost ability that gives you XP for spying on somebody, or aa Fae ability that gives other players XP when they promise you things. Here, XP is baked into the game, but its very up front about being a bribe. Act the way the game wants, or go along with other players' machinations, and you get rewarded for it. And, critically, XP is just one part of a wider game-economy of incentives and metacurrencies; it links in with strings and harm and +1forward in interesting and intricate ways that push the game forward. Monsterhearts is a well designed game, and you should study it.

Finally, let's look at how D&D 5e does it, as a What Not To Do! We have two different options. The first is XP for combat. When you use violence to defeat something, you get XP for it. Under this option, the only way to mechanically improve your character is by killing things. So, we can conclude that D&D is a game that wants you to engage in constant violence. The other option is 'milestone XP'. IE: you level up at the GM's whim, when they feel like it. What does this reward? Fucking nothing. Or, at best, you're rewarded for following the railroad and reaching pre-planned plot moments in a pre-scripted story. You either have no agency in the matter, or are rewarded for subsuming your agency to the will of the GM. (This pattern continues with inspiration rewards, which are given 'when the GM is entertained by you'. Fucking dire.) "Oh!" the 5e fandom says "But a good GM can write a list of achievements that will trigger milestone XP". And yes, they can, but that's not how the text of the game presents it. That's a house rule. That's the GM doing game design to add a new, better, mechanic to the game to fix its failings. Is it any wonder, then, that the 5e fandom puts so mucn weight on the GM's shoulders, and has such a weird semi-antagonistic relationship between GM and player? Is it any wonder that absolutely brutal railroading (and the resulting backlash of disruptive play) is so rife over there? Look at how the incentive structures are built? It's either killing forever or GM-as-god-king! Anyway, yeah. Consider what you reward with XP, because that will become what your game wants. And if you're hacking a game, one of the most efficient hacks is to change what you get XP for and suddenly the game will pivot to something very different.

[netegf]

Hate It When You Leave

pairing: f!reader x rafe cameron

plot: you are trying to cope with the fact that you're hopelessly in love with your best friend. he's trying to cope with the fact that you don't go after the things you want... including him.

warnings: 18+, best friends to lovers trope, use of Y/N, mentions of alcohol and past drug use, non-graphic references to violence, some angst & jealousy, fluff and smut (public sex, teasing, oral female receiving)

word count: 6.5 k

There are parts about wearing your heart on your sleeve that no one ever talks about.

For instance, that it's hard to fix your face when the threads keeping that heart together feel like they're getting tugged, cut, and re-bunched into an ugly knot. 

The water bottle you're holding hardly has any life left. Even Kelce comments as much when he rounds his kitchen island, limbs swinging and loose thanks to the red Solo cup in his hand. He takes one look at the tight smile on your lips and tilts his head to the side, fingers twitching upward to your chin as he turns your head to face him. 

"What's going on in that pretty head of yours?" He asks, voice a little slurred, but thick with concern.

That was Kelce. Polarizingly good at getting to what someone was hiding underneath. 

But appearances went a long way for him. And he was so agreeable, it made him easy to lie to. Especially when he and Topper had practically begged you to come to this party, his first one since graduating college. Everyone would be there, he'd said.

And he was right, they were. 

"Nothing, Kels, it's just my stomach being a little funny." You tell him with a renewed sense of enthusiasm. You gaze at him warmly and quirk a brow, smiling genuinely. "How do you always know?"

"We've known each other our whole lives!" He barks in a laugh. "There's nothing I don't know about you."

You feel your heart squeeze again, like there's a too-tight belt around it. But you humour him with a sweet giggle and convinced nod, and it's all Kelce needs before he's walking away to mingle with another. 

How shocked he'd be to know that there was something you were hiding. 

You keep the water bottle you're holding close to your body as if it would fall straight out of your hands otherwise. When you watch the brunette seated next to Rafe on the couch squeeze his bicep again, you think it might just fall anyway. 

Some things don't change. 

The sun goes up and down. The moon makes a nightly appearance. Kelce never dresses for the weather. Topper claims everyone else is cheating when he loses. 

You love Rafe Cameron.

"Fucking sucks, doesn't it?" A voice rings next to you.

You slowly turn your head from where you're sitting on the kitchen island to see a familiar face lounging on one of the high-chairs. 

Topper, apparently, had always had an inkling. 

"I don't know what you're talking about, Top." You grumble, casting your eyes away from the blonde protagonist of most of your dreams. Some of your nightmares, too. 

You watch as Topper rolls his eyes without so much as glancing at you, a small scoff escaping his lips. He takes a hearty sip from his cup of brown liquid. Tracking his eye-line, you're unsurprised to find that he's staring wistfully at the very same blonde's sister. 

Sarah Cameron is dancing in the corner of the room with John B., her boyfriend. 

A Pogue at a Kook party... the thought still makes you skeptical.

Not because you didn't like John B., or more accurately, like him for Sarah. But because a few short years ago, all this seemed entirely impossible.

Nonetheless, Sarah was important to all of you. 

And, like she'd said, Rafe listened to you better than he did anyone else.

When you explained to him how smitten his sister was with the boy, and considering how their relationship had endured far past those murmurings of 'young love' to, what was at this point, years together, he'd begun to understand that John B. wasn't going anywhere. 

Much to Topper's devastation. 

He promised he was over her, and he dated like it, too. But there were those moments where he had a few drinks in him and it made you think otherwise. 

"Oh, okay. My fault." Topper replies sarcastically, downing what's left in his cup and finally turning away from the couple he's burning holes through. "I thought we were being honest."

"I am being honest."

He glances at you sharply. 

"Uh huh. Hey, don't freak out, but, your nose is like, growing really long. Never seen anything like it before. It's like in that movie! What's it called, again? Puppet boy? No, that can't be right..."

"Very funny, Topper." You say dryly, but the hint of a smile on your lips sells you out and he chuckles next to you. 

"I was thinking Pinocchio." He fake recalls, nudging your elbow. 

This time, you laugh with your chest, and when you lift your head up to take it all in again, your eyes meet familiar blue ones from across Kelce's living room.

By now, you know how to mediate the warmth that blooms at the base of your spine and consumes you completely. 

There's a comfortable silence between the two of you before Topper starts speaking again. 

"You know he would do anything for you, right?" 

You chew on your bottom lip, still holding eye contact with Rafe who gives you a crooked smile. The girl next to him leans in to whisper something in his ear. He keeps looking at you. 

"Yeah, I know." You mumble half-heartedly. "I just feel like I might need to cut my losses at this point." 

Topper frowns for a moment, then stands up from his seat. 

"Well, you suit yourself." He pinches your cheek affectionately. "Because I, for one, want to crash and burn."

You snort at Topper's words and just as quickly watch him round the kitchen counter to grab another drink. 

Preoccupied with the way he extends that gesture to you, fixing some gross concoction of different sodas for you to sip on, a shiver rolls over your skin when it feels like Rafe's smouldering eyes are still lighting a fire on your face. 

Aron Andersen is a douche, but he means well. 

At least, that's the excuse you aways placate Rafe with when Aron inevitably runs his mouth, the blonde's fists tightening nearly every time in conjunction.

Typically, you opt for the pacifist approach because blood is a bitch to clean, Rafe whines when you clean him up with saline, and frankly, Aron isn't worth it.

But tonight, he seems to enjoy testing your threshold for patience like no one else before him. 

You suppose he's not entirely to blame. Kelce makes his drinks strong, and half of Figure 8 is sucking up all the oxygen in the room.

Maybe that was why Rafe had almost swung on John B. only a few minutes prior, claiming the younger man was feeding his sister lies about him. Perhaps it was just one of those nights. 

Still, you sigh when Aron drunkenly makes his way over to your new spot in the backyard, and press your lips tight together when he shoves a beer in your direction.  

"I'm not drinking tonight, Aron." You tell him plainly. 

Aron haphazardly plops down into the lounge chair next to you with his glossy, red eyes narrowing.

He grudgingly pulls the beer back from you and takes a sip that pools around the sides of his mouth, then drains down his throat slow and loud. 

"That sucks. You're more fun when you do." He scoffs.

Your mouth falls open as the words leave his lips, head spinning to meet his annoyed gaze. The faraway look in his eyes makes you gulp.

In no particular mood to be berated, you have half a mind to scoff back and get up to leave. But there's something about the way he speaks completely unadulterated that keeps your body locked in place.

Like you're dying to know what someone really thinks of you.

"Why not?" He presses, gesturing with his finger accusingly. 

"I'm driving."

He continues to stare at you blankly.

"I'm driving." You reiterate, irritation seeping into your tone. "And drunk driving is illegal, Aron. You do know that, right?"

Unintentionally, your eyes flicker to a slightly rowdy and staggering Topper across the room. Aron zeroes in on that and rolls his eyes emphatically. 

"Now it makes sense. You're taking your boyfriends home." He pitches the word in a scornful taunt, squinting over your shoulder. "Where is Cameron, anyway?"

You feel your heartbeat rage in your chest, tongue numb and mind in disarray. 

"Don't be a dick, Aron. They're my friends." You bristle. But he seems unfazed, lazily quirking an eyebrow. 

"Please don't tell me you're that stupid, Y/N. Friends?" He laughs obnoxiously. "I get you're in love with the guy, but you run around for them like a maid. You ask me, the least you should be getting out of it is a good fuck."

Your fingers twitch at your side as you shoot up from your seat, really and truly considering that pouring his beer over his head might be the best option.

Given that Aron routinely takes up two parking spots to park his Range Rover and cheats on his girlfriends, you think it might be a long time coming. 

His words hurt for more than one reason. Of course, because he'd sooner die than recognize that you very much could maintain a healthy, platonic, and meaningful relationship with your friends of over a decade.

But also because, when it came to Rafe, he was goading you with a kind of intimacy you knew you'd never be able to access. At least not in the way you wanted. 

When a firm hand grips Aron's shoulder strongly and whips his body around, you soon realize you don't have to resort to such a physical display. 

While it was true that Rafe's face didn't make him look particularly kind, he'd only been seriously pissed off, to the point that his stomach felt like caving in on itself, a few times. Like in those months right after he'd graduated high school and felt like a big question mark. Every time his dad looked at him disapprovingly, it affirmed that sinking feeling in him, and he learned that he sometimes articulated his sadness in anger.

These days when he's mad, he mulls the feeling over a few times in the interest of scraping for another feeling underneath. 

Now, though, all Rafe feels when he meets Aron's arrogance with an intensity of his own, is unbridled rage. 

"What the fuck did you just say?"

Rafe speaks at a low register that makes your breath quicken. His movements are a little clumsy, blue eyes slightly glazed over, and his dirty blonde hair kisses his forehead that's speckled with sweat. Cheeks dusted red in that way that you love, more prominent when he's inebriated.

His fingers are still pressing harshly into Aron's shoulder, pressure concentrated and steady if the way he winces is any indication. For a second, his eyes flit over to you and the frown on your face, and they begin to soften. But then Aron is sputtering and stealing his attention and he hates him all over again for it. 

"My bad, bro." Aron offers lamely, hands jutting upward in surrender. He attempts to step away, but Rafe keeps him locked there. 

"Yeah, it's your fucking bad, bro." Rafe sneers.

He roughly shoves Aron backwards as he lets go of him and the man quickly scurries away knowing that if he sticks around, Rafe will probably force him through clenched teeth to apologize to you.

You feel your heart hammering in your chest for a different reason.

Your mind is trapped in a loop, repeating every word you said to Aron over and over again, wondering how incriminating they were, and debating how much exactly Rafe had heard.

And if he had, if he was coherent enough to either dismiss or believe the accusation that you loved him. No, not love, you shudder... in love. Aron had said, verbatim, that you were in love with him. 

"I would've handled it." You mumble with your arms crossed over your chest.

Rafe sighs as he turns his body to face you, rubbing a hand over his jaw, now partially relieved of the tension it was holding. He chews on his bottom lip cautiously, like it'll help break the fall of the words bound to spill out of his mouth, a little too unrestrained in his drunk state for his liking. 

"I know that." He nods slowly. "I just wanted to help to help you... handle it."

He stumbles a little as he moves toward you and you instinctively wrap an arm behind his torso, holding him against your body as a human splint. 

"Plus, I kinda have a reputation going for me. No one's losing their shit if I fight a guy."

"Or two." You say pointedly, thinking about his almost altercation with John B. earlier in the night. 

Rafe buries his head into your shoulder, groaning loudly into the bare skin as it heats up and vibrates. 

"Fuck, not you, too."

He lifts his head up to continue, and you lug his body towards the living room where you spot Topper talking with Kelce and some others. Without speaking, Topper seems to understand what you're saying, nodding then pointing to himself followed by the stairs. 

He'd driven you to Kelce's and you promised to stay sober and drive him back home. But now, it seemed like the plan was going to shift.

Topper would stay the night at Kelce's and take his car back in the morning. You would take Rafe's truck back to his place and walk the rest of the way. You were practically neighbours, anyway. 

"If she wants to talk shit about me to her boyfriend, that's one thing. But him, talking shit about me, to her? What's he trying to do? Turn my own sister against me?" 

"I get it, Rafe. I really do." You nod, an amused smile on your lips as you tug him out of the front door and towards his truck. "But you promised Sarah you'd be nice, remember?"

"I am being nice." He protests with his hands tapping at his chest. "I didn't even fucking touch him."

You scoff lightly as you strap Rafe in his passenger seat, noting the way his eyes begin to flutter shut. Humming softly, you poke a cold finger at his cheek and watch as they blink open again. 

"I'm taking you home, okay?" You murmur gently. 

"No!" He objects, large hand circling your wrist. He rubs his forehead with the other one, trying to remember something. "Got a meeting in the morning. Ward is gonna flip if he thinks I've been out all night fucking around."

You look at him uncertainly, waiting for the thing that you don’t want him to say, but know he will.

"Your house? Please?"

There was a time when sleepovers with Rafe were a common practice. Sometimes, after parties like this, with Kelce and Topper.

Other times when you convinced the boys to binge a new movie or TV series, usually ending with at least two of them falling asleep. Rafe made a habit of grumbling his critiques of the things he watched, but always stayed up with you. 

For a while, when he hit an especially rough patch with his dad and spent more nights than he would've liked getting high out of his mind.

As much as he'd tried not to pull anybody else into it, he found himself seeking comfort in the warmth of your bed. It helped that you always received him with open arms, even when his early morning phone calls were disorienting and he cried silently into your shirt in the hours after. 

Those nights felt so distant, and yet, like you could touch them if you reached out just far enough.

Rafe had girlfriends on and off, and sometimes that version of him felt like a stranger. You felt a strange pity for yourself when you realized that it might've been a good thing. That he was getting better and without falling back on a crutch, even if that crutch was you. Suddenly, him sleeping at your house felt weird and misplaced more than anything else. 

"I don't know, Rafe...," you begin to trail off, but the blue desperation in his eyes makes you reconsider. He's still holding tenderly at your wrist. "Fine. But if you puke on my sheets, you're done. Do you hear me?" 

Whether or not Rafe hears you is unclear, but you take the delirious smile forming on his lips as a non-verbal affirmation. He huffs out a long breath as if he can feel himself finally relaxing. His eyes start to close again, too, as you start his truck and drive the short way to your house. 

"Don't even think about falling asleep on me, Cameron. I am not lugging you up the stairs."

"You're strong." He reasons smoothly, lids still shut as he smirks. "You were about to deck the shit out of Aron Andersen when I found you."

Getting Rafe up to your bedroom goes better than you'd imagined, now with a few years of experience under your belt. 

You get him to sit down on your bed, and he fiddles with the items on your nightstand while you rummage through your armoire for an old pair of his pajamas. He complains when you throw him a pair of sweatpants and a sports t-shirt he used to wear in junior high, claiming that it'd be too tight over his arms and chest.

Plus, he'd added, it was far too hot to be wearing a shirt, anyway. 

"I love these." 

Changing into sweats of your own, you exit the bathroom to find Rafe sitting up in your bed, part of his bare torso obscured by your white sheets. His attention is fixed on a small group of rings on your bedside table, silver and gold hues reflecting under the dull rays of your lamp.

He slowly picks one up.

"Yeah, I'd hope so." You snort, tentatively slipping into bed next to him and painfully aware of the sorry excuse for space between you. "You got them all for me... kook."

Rafe cracks a sleepy smile, rolling his eyes playfully.

"You wouldn't tell me which one you wanted." He shrugs like it's the simplest thing in the world. 

He sets the ring back on the table and switches off your lamp, blanketing the room in a stroke of darkness. Rafe lies on his back and you opt to turn to your side, facing the wall.

Looking at his face only a few inches away from yours, when he's about to sleep in your bed, feels like it will be too much. 

"Asking for what you want is weird, Rafe. Nobody likes it."

You chew on your bottom lip in the dark.

"I do." He says in a scoff that turns into a yawn. "How else is anyone gonna know? People don't usually stop you and beg to find out."

You swallow roughly. That was true enough, they didn't.

But Rafe did. He always did. You revered him for it.

There's a long silence between you and all that echoes against the wood framing of your bed are the heavy and sometimes irregular sounds of your and Rafe's breathing.

Against your better judgement, you think he might've fallen asleep and almost turn around to check. 

"Is it me?" He asks quietly, voice scratchy with exhaustion. "... what you want?"

You feel your shaky breath hitch in your throat. 

"Because if it is... you don't have to ask."

His words linger in the air for as long as it takes your wildly beating hard to calm down.

By the time your body regains some feeling, the sound of Rafe's soft snores pierce the oddly crisp air clouding your room, and the choice to unpack what he said right now, or in the morning, is made for you. 

A shiver runs down from the nape of your neck to the tips of yours toes. 

Rafe is gone by the time you wake up.

The harsh but comforting sound of rain clangs against your roof, and you stretch your limbs to the thought of a cloudy and obscure summer day. 

It's better this way, you think. The absence of Rafe's warmth next to you would feel worse if the sun was shining, teasing. 

Your fingers play underneath your comforter to locate your phone. Scrolling through your notifications, you frown seeing that none of them are from Rafe.

In his defense, it was only about 9AM now, and he'd probably just had enough time to take a quick shower, get himself the smallest bit presentable, and still barely make it to his meeting with a client.

The used bathroom towel in your hamper and flannel pajama pants hastily thrown on his side of the bed are compelling indicators. 

In his defense, he was drunk, and there was no telling if he remembered anything about last night. 

Drowsy proclamations of desire and confession, included. 

You wrestle with the idea of calling him and letting it all spill out.

Kissing him on your front lawn, in the rain, with dewy blades of grass nipping at your feet. Hands threading through his wet hair and tugging, hungrily, because you're starving and happy, and these are liberties you can afford in imagination.  

But you settle on seeing him later tonight, in person. It's your dad's charity after all. 

"I just wish you would have told me earlier." Your disappointed words hang in the air for a few moments as you play with the hem of your silky baby blue dress.

Your father had mentioned to you once before that his new business partner had a son about your age, newly graduated from UC Irvine. 

He hadn't mentioned, though, that this mystery guy would be attending the charity tonight, and he'd offered you up as his own personal tour guide.

Your father hadn't used the word date explicitly, but that's what it felt like when you were handed an odd-smelling bouquet of flowers, standing awkwardly next to the brunette who you were apparently to keep the company of all night, though he might as well have been a stranger. 

Daniel was nice enough.

He complimented your dress and your makeup, smiled and pulled out your chair before you sat down at your assigned table.

But it felt weird accepting praise and chivalry from him when your heart was busy beating erratically at the simple thought that your dress matched Rafe's eyes.  

The venue is extravagant like it always is, what with it's elaborate crystal chandeliers, ice sculptures, and floral center pieces larger than your head. 

At your table, you note your and Daniel's name cards labeling your seats. Next to them, are Topper, Kelce, and Rafe's. There's a sixth seat that has no label and you tilt your head to the side thoughtfully, considering that Topper or Kelce must be bringing a date. 

"This place is incredible. Your dad is so impressive." Daniel says in awe from the seat next to you. His eyes trail around the room, wide in amazement, reflecting back all the vibrant lights in the brown of his pupils.

You smile weakly at him, tucking a strand of loose hair behind your ear that always seems to take flight despite your attention to detail.

"Yeah, he's really something. Likes to orchestrate a big show. You should see him at the winter ball. Live doves, and everything." 

Daniel nods, moving on to say something that starts to sound unintelligible when something else piques your interest. Someone else. Multiple someones, entering the banquet hall. 

Craning your neck, you make out Topper and Rafe. And a girl. 

No. Topper... and Rafe and a girl. She has her arm tucked around Rafe's as he escorts her in the direction of your table. He's wearing the grey tux you like, the one he wore to Rose's sister's wedding with the ornate thread detailing. His smile makes the two halves of your heart squeeze together. 

"Hey, you okay? You're squeezing that wine glass pretty tight there."

Daniel likely means well, eyeing the way your fist clenches around the stem of the glass you've yet to take a sip from. You shoot him an embarrassed smile and release your straining fingers.

An emotional support water bottle sounds like it would be really nice right now. 

"Yeah, I'm fine. Just a little nervous... my dad always gives a speech at these things." You explain.

As the trio begins to approach, you realize it's Shelley Thompson gripping Rafe's arm, a sweet girl you knew from the Kook Academy.

Even now, she always waves when you run into her at the Island Club, and she has a swing on the golf course like no other.

She's a good match for Rafe. You hate to admit it, but it's true.

When Daniel speaks again, you can barely hear him.

"I'm sure you have nothing to worry about." Daniel chuckles. "I have a hard time imagining that your dad would be bad at anything..."

Topper, having heard the tail-end of your conversation, plunks himself down in the chair across from yours and rubs his forehead tiredly. You shudder at the way he smiles empathetically at you. Like there's something to be consoled about. 

"Hangover?" You ask, shoving the shaky feeling down and shooting him a teasing smirk.

He groans loudly and buries his face in his hands.

"That's the understatement of the year. Feels like I'm getting my skull bashed in." He mutters through the skin, then he peels his head away and grimaces at the screechy music being played. If there was one thing your dad was bad it, it was decent music taste. Topper laughs heartily, shaking his head. "Then again, maybe I am." 

The lightheartedness is interrupted for a moment as Rafe and Shelley pull up to the table, taking their seats accordingly. Rafe rakes his eyes over Daniel for a few seconds, but otherwise stays silent and it makes you frown. You look at him, desperately trying to uncover if he remembers any details from last night, but his expression is unreadable.

Shelley, on the other hand, grins at you enthusiastically and starts to chat with you about the time she interned at your dad's company. 

You find yourself glancing at Rafe every so often, each time catching him staring blankly ahead or at his lap, and always fidgeting with his fingers. 

"Who's this?" He asks suddenly, nodding his head at the man next to you. 

"Oh." You swallow. "This is Daniel."

Finding that insufficient, Daniel takes it as an opportunity to formally introduce himself. 

"That's me." Daniel waves sheepishly, gently squeezing your shoulder with his other hand. "Y/N's been showing me around. Well, her and her dad. I really love what Mr. Y/L/N's been doing with his company. He does some incredible work out here. It's not often that you see-,"

Topper snickers when he cuts him off. 

"Maybe he should've been your date."

Daniel laughs it off, blushing slightly and concealing it in a short cough. But you kick Topper under the table in retaliation, ignoring the way he holds his shin and groans out a soft "Ow!". 

After that, Shelley, Topper, and Daniel divulge into conversation, shifting from topic to topic and at some points, sharing boisterous laughs together.

Rafe keeps his lips pressed together and his words concise. While you fiddle with your utensils, you feel his eyes on you, igniting heat under your skin. 

He stares at you hard, like he's waiting for you to say something. Begging, even, with the way his forehead tenses and his brow stays quirked.

But you didn't know what to say.

Or maybe you didn't know how to say it. Especially not here. Especially not when he had a date. 

Rafe rolls his eyes and chews on the inside of his cheek, standing from the table abruptly, the movement making the cutlery tremble.

"Hey, I have an idea." He says while tugging on Shelley's hand. "Let's dance."

You watch as Shelley squeals with excitement, jumping from her seat to follow Rafe towards the center of the large room where the music is playing. 

"Couldn't pay me to get closer to that band." Topper mumbles offhandedly. You're sure he's trying to make it sting less, but some pains don't have a perfect antidote. 

Daniel sends you a look, silently asking if you want to join them. 

"Maybe later." You reply quietly. 

Watching Rafe wrap his arm around Shelley's waist, you feel your heart sink slowly into your stomach.

In the middle of Daniel's rambling and Topper's occasional acknowledging hums, you rise from your seat and stumble into the courtyard for some fresh air.

Surely, your heart would keep sinking if you saw any more, and your heels were too tight to fit anything else. 

The courtyard is a beautiful mix of greenery, fairy lights, and concrete statues, but it does little to ease the ache in your chest. You sit on a stone bench and try to control your breathing with your head between your knees. 

Though it's turbulent and shallow at best.

"What's wrong?"

You know it's Rafe without looking up. Sighing into the palms of your hand, you slide them down from your face and lift your head up. Surely, your makeup is smudged, and the thought makes you more miserable.

"Nothing." You say more sharply than you intended. "Nothing's wrong. Just go away, Rafe."

He looks at you completely scandalized. 

"Are you... mad at me?"

You let out a deep breathe, averting your gaze to the ground as you collect yourself. "No, I'm not mad. Why would I be mad?"

Rafe scoffs, entirely unconvinced. He rakes a hand through his hair in frustration. 

"Well, fuck, if this is 'not mad', then I don't want to see what mad looks like." 

"Can you just drop it? Please, Rafe? Drop it?" You beg, sniffling slightly as you stand. You hadn't noticed when your cheeks started to get wet. Likely too much in denial.

Despite the way it's honoured you in the past, crying was offering no release at this point. It's not like any of this was Rafe's fault. Even if he had gotten your hopes up last night, he wasn't obligated to act on drunken pillow talk. Maybe he hadn't meant it in the first place and was only trying to make you feel better.

"You won't talk to me." He says sadly.

You bite down on every explanation you want to give him. Chest pain heavy and unrelenting.

"Just... go back to Shelley, Rafe. She's probably waiting for you."

Rafe looks puzzled when the words fall weakly out of your mouth.

Then, he nods, like something finally clicks for him. He meets your eyes with fervor as he presses his lips together.

"So, this is about Shelley?" He asks.

Your head hangs and silence intensifies between you. It speaks for itself.

"The same Shelley that's been fucking Kelce on and off for the past two years?"

He watches your mouth fall open and eyebrows furrow, continuing as you stare at him.

"Kelce promised to take her out on a real date, but then he got caught up at work... asked me to keep Shelley company until he showed up. We didn't come here together, together, Y/N. I thought you knew that." 

Your mind buzzes as he speaks, bottom lip wedged under your teeth.

So, he wasn't here with Shelley. And he probably did remember both what he heard and said last night if he could recognize that you were jealous.

Jealous. It makes you squeeze your eyes shut. The feeling was always two-fold. A person would feel jealous, then humiliated that they had. You don't know which one is worse.

You peak an eye open, chewing through your words. "Why couldn't Topper do it?" 

"Have you met Topper?"

That was a good point. 

Still reeling from the new information, you look down at your lap pensively.

"But you did." Rafe begins after a few beats of silence. When you frown in confusion, he clarifies. "... come here with someone."

You crane your neck up to look at him. There's something you can't place in his eyes, but it's cloudy and all-consuming. His hair is a mess from the way he's been ruffling through it, and his cheeks are flushed and tight.

"What, Daniel? Are you kidding me? I only brought him because my dad ask-," you begin to explain, but Rafe cuts you off. 

"I don’t care why he thinks he can touch you. I just want him to stop.”

Despite the small gust of wind that blows past you both, you feel a warmth at the base of your neck... in the palms of your hands. Maybe it was the beams of light overhead, illuminating your bodies amidst the greenery.

Or, maybe it was just Rafe's words.

The intensity of his gaze. The way he steps towards you as he speaks them, warm hand eventually reaching out to graze over your cheek in a way that makes you gasp in a mixture of shock and excitement. 

For a moment, you think about yourself and the many soul-crushing nights spent watching Rafe talk to and touch and kiss other people, the overlapping visuals making you queasy. 

"I know the feeling." You say quietly, hot breath fanning over his face.

Rafe frowns a little, soaking up the meaning of your words. He nudges his face closer to yours, until your noses are touching and his lips just barely graze over the pair he desperately wants to taste. He draws back suddenly, suspending all the air in your lungs. 

He eyes you cautiously, challenging silently as he licks his lips.

"Not gonna do anything unless you ask." 

You nearly cry out in response. "Rafe, please. I... I want you." Ignoring the way your desperation makes your skin feel tingly and your head spin, you shut your eyes tightly, realizing that only really skimmed the surface. You try again, gulping. "I've always wanted you."

"Fuck." He breathes out, eyes fluttering shut. "Never stop saying that." 

Stifling the sound of another whine from your lips, Rafe kisses you feverishly.

He moves his soft lips in tandem with yours, swallowing each of your breathy moans. One of his hands traces over the swell of your jaw while the other stretches tenderly around your throat. "Know what I wanted to do when I saw you sitting there next to him?" 

You nearly scream in protest when Rafe pulls his lips off yours, but fall silent when he trails kisses down from your jaw to your neck and collarbones, sloppily sucking the skin then laving his tongue over the afflicted areas. Unsatisfied until your pushing his head away from the sensitivity. 

"Wanted to knock his fucking teeth out." He murmurs with his head buried in the crook of your neck, inhaling your scent and leaving searing kisses. "But I don't do that shit anymore. So I'll ruin his night a different way."

Rafe moves your body with his until the backs of your knees hit the concrete bench. Your mouth falls open as he sits you down on it, kneeling in front of you. He presses a ticklish kiss to your knee and his bright blue eyes peer up at you through his lashes. When you nod, he parts your thighs and pulls your panties down in a single unbroken movement, committing every second to memory.

He stares longer than he should, groaning at the way your wetness collects on his finger when he traces a finger over your slit, spreading you apart. 

"Can't believe," he moans into your mound, running the flat of his tongue over your center again and again. "... you kept me from this pussy for so long." 

You throw your head back at the sensation, finding nothing but air and Rafe to support you as pulls you closer to his mouth.

"That," you say in a broken moan at the feeling of Rafe's tongue inside you. "That's your fault, remember? I was always here — shit! Waiting for you.”

Rafe hums against your pussy at that, neither agreeing or disagreeing. His nose nudges your clit as he tastes you greedily. You tug at his hair to dissipate some of the energy building inside your core, but it only makes Rafe work harder. 

"Didn't think I deserved you." He admits, pink lips mesmerizing and wet with your slick and his spit. Rafe takes your clit into his mouth and sucks obscenely, the slurping sound sending a flash of heat through you. "Doesn't matter now. I'm good at making up for lost time..."

Your thighs clamp around Rafe's head as he fucks you with his tongue. It's only now, as gasps and high-pitched sounds fall wantonly from your lips that you come to the reality that you're letting Rafe eat you out in the courtyard, and anybody from the party could come here and find you. Still, you moan less controlled than you would have hoped when he suckles at your clit again, drinking at your sopping pussy.

"Hey, have some common decency, huh? There's some very nice people in there trying to enjoy a party." 

Rafe smirks when you pull at his hair even harder, mostly at the thought that you think it could be reprimanding when he likes it so much. His teasing does more to turn you on than you'd care to admit and he can tell with the way you gush around him.

"One of em's your date." He adds, laughing slightly as he curls his tongue inside you. Entranced at the way it makes you whimper and writhe like putty under him. He starts rubbing your clit with his thumb at the same time, chasing the crest of your orgasm. "C'mon, baby. Give it to me. Come all over my tongue." 

Your release makes your back rise off of the slab of cement you're seated on, thighs slotted over Rafe's shoulders as he licks you through your climax.

The pleasure is insurmountable, your mouth falling open and your eyes screwing shut as that familiar feeling completely overwhelms your senses, the burn of your elbows against the cement keeping you anchored to the ground. 

Rafe smiles when you pull him by the belt of his dress pants to capture his mouth in a long and sweet kiss. It helps clean up the residual wetness. 

By the time Kelce makes it your father's charity event, he sighs tiredly into the crown of Shelley's head, pressing a wet kiss there in greeting. On his way in, he got trapped in a conversation with your father and some guy he'd never seen before named Daniel who was more inclined to kiss your dad's ass than he was to breathe.

Finally taking his seat next to a very drunk Topper, he squints his eyes at the sight before him. You and Rafe, unable to keep your hands off each other, giggling at nothing in particular. And when not giggling, kissing.

"Are you seeing this shit?" Kelce asks Topper, gesturing towards his two closest friends shoving their tongues down each other's throats. Shamelessly, at that.

"Dude." Topper groans, sighing like this was no surprise to him. "Where the fuck have you been?"

a/n: thank you for reading! comments/reblogs appreciated!!

[tealvenetianmask]

I want to take apart the use of the word, "dramatic" in the fandom a little and try to understand why it gets applied to Stolas so often and not to Blitz. Because, honestly, they both sort of are . . .

If dramatic means "oozes emotions and makes the audience feel something for them." Both have really intense emotional moments in the show.

The truth is, they also both hold back quite a lot though. (So maybe neither is dramatic?) There are tons of examples, but to save space, here's one of each. We see Stolas forcing his face serene in the middle of a drunken crying session in Apology Tour, and we see Blitz leave rather than let Stolas see him cry in Ozzie's.

And they BOTH don't let the people in their lives see that they're hurting. Stolas wears a mask for Octavia, and Blitz wears a mask for . . . everyone in his life, really . . . Until recently, both wore masks for each other pretty much constantly too. But when they're each alone, we see the truth.

Okay, so obviously it comes down to presentation, right? Specifically gender presentation . . .

Stolas gets judged as dramatic (and even whiny or self-absorbed in anti circles) because he laments in deep, lofty ballads, with make-up dripping down his face, which is honestly such a win for all the grown-up emo kids watching. He relates to soap opera protagonists and wants to be chased after while he's boarding a train. He reads romance novels.

In short, when he expresses emotions, when he consumes media about romance . . . he's being traditionally "feminine." (A note: this is also why he's often portrayed by fans as "the woman" in the relationship- and that can have its own problems, since, yes, this is a gay relationship between two men, and regardless of gender presentation, neither needs to be "the woman.")

Blitz on the other hand . . . well. He's not masculine in every way either, is he? He loves to crossdress for fun work. When he's enjoying his down time, he's watching two cutesy horses kissing.

But he expresses emotions in ways that are socially accepted as masculine. Namely, anger. It's not dramatic to do any of this, is it?

He calls listening to love ballads "gay . . ." oh, and he uses the same insult for Stolas . . . you know . . . trying to talk about emotions with him. So, for better or worse (worse- this is a bad thing), he's pretty deeply entrenched in society's expectations of masculinity. Or anyway, he performs it more convincingly than Stolas does. Well enough, it seems, to convince some viewers that he's 1) just an asshole with no depth and/or 2) just a chill and badass regular dude man.

But here's the kicker. NEITHER of these characters are wrong for having emotions and expressing them. It's a good thing actually.

In the world of the show, expression heals. Singing helps Stolas process the changes in his life. His decision to tell Blitz how he feels WILL ultimately help them both with their character development. Blitz ends up happier than he's been in a long time and manages to repair a friendship after 15 years apart once he explains his emotional experience to Fizz and cries. Accepting some emotions other than anger in Apology Tour (even if he's far from finished processing them) enables Blitz to grow profoundly as a person.

This blog is in favor of being dramatic.

[literaryvein-reblogs]

Writing Notes: Dialogue

A Guide to Writing Better Dialogue

Consider the following criteria:

The dialogue must move the story forward. After each conversation or exchange, the reader should be one step closer to either the climax or the conclusion.

Reveal relevant information about the character. The right dialogue will give the reader insight into how the character feels, and what motivates them to act.

It must help the reader understand the relationship between the characters.

Tips for Better Dialogue

12 tips to writing forward-focused dialogue:

Keep it brief

Dialogue shouldn’t go over for pages and pages. The best dialogue is brief.

You don’t need to go into lengthy exchanges to reveal an important truth about the characters, their motivations, and how they view the world.

Pair the dialogue down to the minimum that you need for the characters to say to each other.

Avoid small talk

In the real world, small talk fills in the awkward silence, but in the world of your novel, the only dialogue to include is the kind that reveals something necessary about the character and/or plot.

How’s the weather? doesn’t move the plot.

If you’d like to show that your character doesn’t like awkward pauses, work on characterization and scene description.

Instead of using mind-numbingly long exchanges, show the character’s discomfort by describing how she taps her fingers against the window pane, or takes a series of sharp sighs.

Small talk can water down the effectiveness of your scene.

Instead, pick exchanges that capture the essence of the moment, and bypass small talk altogether. Let that be an understood nod between you and the reader, and dive right into the action.

Don’t info dump

While you can certainly use dialogue to learn more about your characters, you shouldn’t use it to dump a whole lot of information on the reader.

If you must info dump, don’t do it in dialogue.

It may slow dialogue to a grinding halt. It may sound awkward.

What’s the difference between info dumping and revealing relevant information?

Info dump is a large amount of exposition given all at once, and left for the reader to sort out.

Relevant information is more subtle, and it’s dispensed a little at a time.

Give your characters a unique way of speaking

Every character, just like every person you know, will have a unique way of speaking and delivering their thoughts.

Some people are more forceful and deliberate.

Others are more passive and meandering.

You can honor these (and other) different styles without rambling.

One method is to focus on word choice.

Example: To show that someone is rather gruff or abrupt, go towards single syllable or somewhat quick words, like “yeah.”

Same basic concept but different delivery, based on character.

Of course, word choice alone can’t dictate character.

You’ll do most of this through characterization, but word choice should subtly support and reinforce characterization.

Also establish a pattern of speech:

Does the character speak in a sharp staccato, or a deliberate, flowy manner?

By knowing how the character (especially the protagonist) speaks, you can create consistency whenever the character dialogues with others.

Be consistent

Remember to be consistent with your characters.

Someone who speaks in a self-depreciating and shy demeanor won’t automatically become bold and acerbic.

When your characters speak, they should stay true to who they are.

Even without character tags, the reader should be able to figure out who’s talking.

Create suspense

Use dialogue to increase the suspense between characters.

It’s human nature for people to withhold what they’re truly thinking or feeling.

People leave a lot unsaid, and this is also true for the characters in your novel.

To create a realistic interaction between your characters, you must honor the fact that most people leave a lot of things unsaid.

But that doesn’t mean that the reader can’t be privy to what’s being left unsaid.

As a writer, you can build the scene, show the characters’ motivations and desires before the scene, and let it play out, with the reader wanting a resolution that doesn’t quite happen.

Answer the following questions to setup your scene for suspense:

Does one character have the upper hand in the scene?

Is the other character seething just under the surface?

What does the reader find out through the exchange?

You can control all of this through dialogue.

Honor the relationship

Characters tend to speak differently based on who they’re speaking to.

A character will speak to his mother differently than he does to his best friend. That’s not a shift in consistency.

It actually gives more depth and realness to the character. You can still stay true to the personality you’ve created by using the same speech pattern.

Show, don’t tell

“Show, don’t tell” is the writer’s mantra.

When writing dialogue, it’s easy to start “telling” what the characters are feeling instead of showing it.

Instead of your character saying, “I’m angry!” describe how the character’s body is closed--tight lips, narrow eyes, deep breaths.

Don’t underestimate your reader.

The reader likes to see the scene, pick up the cues and come to the conclusion, instead of being told what to think. Your dialogue shouldn’t be completely on the nose, and explain exactly what the character is feeling.

Most people -- including your characters -- aren’t always aware of how they feel.

And sometimes, what they say they feel is different from what they truly feel.

Use dialogue to reveal characters, but not directly.

Body language is also an important part of dialogue, and should be written into every scene. It gives the reader important clues that they’ll use to recreate the scene in their mind.

Minimize identifying tags

“He said, she said” gets boring after a while.

And the answer isn’t to switch out those “said” tags with other words like “enthused” or “shouted”. (When it doubt, “said” wins out.)

Not only is it boring for the reader to constantly see “he said” or “said she”, it may be disruptive.

Identifiers take the reader out of the immersive world of your story and reminds them that you, the author, are relaying a story.

That can be pretty jarring, and it can happen if you use identifiers too often.

Of course, you can’t not use identifiers.

They’re vital for establishing who’s speaking, but can be minimized by doing the following:

Creating a unique pattern of speech.

Using descriptive follow ups. (e.g., “That’s not what I said.” Vincent reached for the rock.)

The second option can show what the characters are doing to further emphasize their words, or add context to the scene.

Greetings and goodbyes aren’t always necessary

While it’s only polite to say hello and bid adieu, it’s not necessary in novel dialogue to document these courtesies.

You can use exposition for salutations, but do avoid writing a blow-by-blow.

Set up the scene by describing how the character enters or leaves the scene.

Avoid speeches and soliloquies

Most people, in conversation form, do not have the privilege of extended speech.

They’re almost always interrupted because who wants to listen to someone natter on and on?

Read it aloud

During the editing process, you should always read your manuscript aloud, but do pay special attention to your dialogue.

If the dialogue doesn’t seem to flow, or you’re tripping over your words, it’s not going to sound right to the reader.

Even though you’re not capturing every part of a conversation in your dialogue, everything that’s written should sound like an actual person said it. If not, it’s time to erase and try again.

Source Writing References: Worldbuilding ⚜ Plot ⚜ Character More: Formatting Dialogue ⚜ Children's Dialogue ⚜ Dialogue Prompts

[probablybadrpgideas]

I feel like this is the right place to share the story of Post Apocalyptic Macho Man Randy Savage, the one time where my bad idea was telling a player "Hey, that might be a bad idea for this campaign"

Maybe 10 years ago I dusted off d20 modern for a Fallout-inspired post apocalyptic two-shot, a lot of what I'd DMed to that point was your typical D&D and I wanted to start trying different settings. I'd imagined this to be a pretty gun-heavy few games, so when my buddy decided that he wanted to make a grappler, I told him that I didn't think that was a great idea. My buddy took that shit personally.

Now, I was used to silliness at my table. I encouraged it, in fact! This campaign also had characters based on Squidward, Shrek and the Sanik meme (to anyone that knows Fallout lore, imagine Sonic hooked on Jet), so when my friend came to me with Macho Man Randy Savage I tutted a bit, but didn't bat an eye. What I hadn't realized was that my friend had spent the three days in between our conversation and the actual game building the perfect character to make me eat my words. The Post Apocalyptic Macho Man could grapple, he could evade and he could talk his ass off and that's it, but with these three ingredients- plus the bounty of the Dice Gods- this character derailed everything I'd had planned.

Band of raiders that have a caravan held up? Suplexed into each other before they could even get their guns. Super mutant? Nothing that can't be solved by suplexing a propane tank into the mutant (plus a well timed shot from Sanik). Mirelurk? More-a graps! Wave of bullets flying towards him? That's okay, just do the trademark Randy Savage tippy-toe walk to the nearest cover, then wait for the earliest opportunity to throw cocaine in their eyes and suplex the son of a bitch that thought they could snuff out the Madness (Oh, I forgot to mention that he spent literally all his starting money on cocaine, which he used in much the same way that Dale Gribble used sand). I really go out of my way to stop one character from becoming the capital-P Protagonist of the game, but my other players quickly figured out what was happening and they leaned into Macho Man's bullshit HARD, so they'd started setting up bad guys to get suplexed! By the end of the evening, my friend sat me down, flashed me the most shit-eating grin I'd ever seen to this day, and asked "So is the grappler still a bad idea?"

To tl;dr the rest, I furiously re-wrote the plot for the second night (again, two-shot) to make the bad guy Hulk Hogan, and the final encounter boiled down to a wrestling match between the two with the other players electing to "sit in the crowd and boo the Hulkster", before ultimately the two settled their differences and decided that the easiest way to rebuild society (and get decent blow again) was to reform the WWF and found a city called WrestleMania. Sanik was on board for the blow, Squidward was convinced to join them when he was told that the wrestlers would need entrance music and, so long as they kept away from his swamp, Shrek promised to help them find a suitable place to build Wrestlemania (though it totally ended up in his swamp). Anyway, that's how I learned to never tell a player that their idea for a grappler won't work, a grappler will work in any setting if you've got enough spite in your heart

­

[felassan]

John Epler in the BioWare Discord (August 7th, again) -

User: "Since the dialogue wheel is coming back, will our choices set our Rook as diplomatic/humorous/aggressive with varying tone and voice lines similar to Hawke being able to be blue/purple/red?" John: "Not to the same degree - we want to give you the freedom to play your Rook differently depending on who they're talking to (you might be kinder to your companions and brusque with authority figures, for example), but your tone choices will have an impact within a conversation and, sometimes, with specific characters across multiple conversations." --- User: "I have to ask: how muscular can we make the elves?" John: "Reasonably so. You won't be making any massive bodybuilders but like... Timothy Olyphant?" User: "As a follow up what about humans and qunari? Quite muscular a la arnold or big viking type? Or not so much that lvl?" John: "Larger lineages (Qunari, esp) are bigger by default so the upper bounds are going to be bigger, but for modeling and animation we did want to put some limits on it. But your Rook can look pretty reasonably muscled, regardless of lineage choice." --- User: "Are there any time-sensitive quests (in terms of gameplay time, that will fail automatically if not addressed in a timely manner), and if there are please tell me they're at least indicated as such in some way?" John: "There are quests that can go away and technically 'fail' if you don't address them - but, to be VERY clear, this is not an in-game timer, but rather as you progress the game's story forward. That said, we do try to sign post them as much as possible." --- User: "Does Rook ever get the choice to cuss?" John: "Yes. You'll know when you're doing it, and we leave it up to you to make the choice, but sometimes, cursing is exactly what the situation demands."

[character limit text break!]

User: "Does the bioware team read the other channels and if so do they think we're unhinged or endearing?" John: "Little of column A, little of column B. But I mean, I've been online for 27 years, the internet has ruined me as much as anyone." --- User: "all the Rooks we've seen so far are wearing purple, please tell me we dont have to wear purple" John: "Everyone else can wear whatever colour they want but you, specifically, must always wear purple." --- User: "All the games have had unique faction symbols for our protagonist (Warden, Champion of Kirkwall, Inquisition) I assume there will be one for the Veilguard Will the symbol for it get released before the game or is this something that will be revealed in-game/after it’s launched?" John: "Every faction has their own symbol - including the Veilguard themselves! You may have noticed it in some of the art out there." --- John: "As a general comment - one thing I want to be super clear on - even as creative director there are things I can say, and things we're not ready to talk about. I'd rather spend my time answering what I can instead of a dozen 'sorry I can't talk about that yet' - especially since this channel is on slow mode." --- User: "There are blood effects in combat after Rook hits an enemy. And I think a developer shared images of the blood effects on hit after the reveal. Will characters be covered in blood or other environmental effects? Like getting wet from walking in puddles or muddy from running on dirt?" John: "There are environmental effects that persist on characters, depending on the environment you're traversing. They're subtle, but they're there!" --- User: "how many tattoos can we choose from? are there also full bodied ones too?" John: "I don't know the exact number, but there are quite a few. Some are full body as well, though you have control over colours and opacity on a more granular basis."

[character limit text break!]

User: "Of the zones/areas revealed what was the most challenging to design?" John: "Each has its own unique challenges. Arlathan seems simple because - well, it's a forest, right? But what about Arlathan makes it different than places you've been before? How does it fit into the established lore? Minrathous is a different kettle of fish because we've talked about it extensively and in a way that meant it HAD to be grander and more impressive than anything we've built before, which can be a tall order. The team did a fantastic job on all the areas, though." --- User: "which faction has the best fashion, in your opinion?" John: "Crows. Largely because 'black leather and feathers' isn't a look I could pull off in the real world but I am glad my Rook can." --- John: "Alright folks. I've gotta head back to work, but please keep asking questions and I'll answer what I can as soon as I can!"

[source: the official BioWare Discord]

There was also this question and answer:

User: "Can we name our saves like in Origins?" John: "I had to double check because I was about 95% sure on the answer, but also, I've been on this project for its entirety and sometimes I remember features that we had to cut (or never actually built) - yes. You can name your saves to reduce confusion."

but the answer may have now been deleted.

[batmanisagatewaydrug]

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

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

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

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

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

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

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

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

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

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

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

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

[neversetyoufree]

The way Noé Archiviste is written is so good. I'm so obsessed with him.

He's such a protagonist—endlessly hopeful against adversity and filled with kindness and attempted understanding toward everyone he meets. He's a good person! He wants to save everyone! He is genuinely and utterly without any sort of cruelty or unfair bias.

Yet, the more the series goes on, the more he's written as a very obvious parallel to our antagonists.

The most blatant example of this is the Ruthven parallel. Ruthven once happily said that he liked vampires, and in the same way, he liked humans. Noé repeats this exact same line when he has tea with Ruthven.

This parallel doesn't reflect too poorly on Noé, since it's pretty clear that something Happened to Ruthven to change him between his speaking that line and him becoming our antagonist, but it is an interesting way to tie the two of them together. It raises certain questions in readers' minds. In what other ways are Noé and Ruthven still similar, and how might Noé change to become more like him?

Then there's Noé's toxic optimism. The "you should be a little bothered, actually" aspect of him. Noé is the mirror to Vanitas's toxic pessimism. He latches onto the good in the world to a fault, and in this way he detaches from reality and endures an endless series of abuses to his person without even understanding they're abuses.

That is also one of the defining traits of Mikhail. Misha is unsettling in part because he is completely detached from any understanding of severity. Misha happily recounts being abused and watching his mother die not because he's cruel or hateful, but because he doesn't understand what's happened to him or why those things are bad. Misha wants to bring Luna back to life because he's in denial of the reality of their death. He believes he can just resurrect them and everything will be fine, and he'll get to play happy family again.

If Noé went just a little bit more extreme with the over-optimism, he could disconnect from reality just as badly as Misha has.

Finally there's my favorite parallel—the tie between Noé and his Teacher. Noé Archiviste has a tendency to watch others in fascination, trying to figure them out from the sidelines while he fails to understand his own impact on them, and he absolutely loves the Blue Moon. He thinks the Blue Moon is beautiful. Teacher spends his time collecting interestingly damaged children in putting them in awful situations, apparently just for the fun of watching what they'll do next, and he calls The Vampire of the Blue Moon "the most beautiful creature in the world."

Noé's curiosity-driven fascination with Vanitas's trauma and his love of the blue moon—neither of these are necessarily a problem on their own, but when written in direct parallel with The Count of Saint Germain, they become somewhat alarming.

In the same way that Misha is "worse" than Noé because his obliviousness to his trauma leads him to harm others, Noé's teacher is surely a worse person than him because he lets himself harm others in pursuit of his interests. Noé doesn't do that. But what would it take for that to change? He's pushed boundaries before. He learned to hurt Astolfo and Misha in the name of protecting those he cares about. What other strange places could his headstrong nature lead?

What might Noé do when his fascination and his obliviousness intersect? When the parts of him that are Teacher and the parts of him that are Misha overlap? What would he do to see Vanitas again? What might he do without letting himself realize how terrible it was?

Noé is a good person. He's one of the best people. But in his attentiveness and his optimism and his love, there's the seeds of something that could lead him down a very dark road. Each of the above antagonists is a little bit a part of who he is.

Misha wants to bring Luna back to life. Ruthven is working toward some mysterious aim with the dead or dying Faustina. And given how he talks in mémoire 55, I wouldn't be surprised if Teacher also had an interest in bringing back The Vampire of the Blue moon in one form or another.

In all his fascination and love and hope, would/will Noé be able to let Vanitas die when death is preferable to the alternative? This is a story about the inevitability of death, and the denial of that inevitability creates nothing but horror and perversion. Noé is growing and learning to understand both Vanitas and the moral complexities of the world, and we can only hope that he learns enough. We can see through his many reflections in other characters what he might become if he can't accept painful reality.

[ennn]

Very much enjoying your analysis. There seems to be a disconnect on whether Agatha kissed as a manipulative tactic or if there really as love there.

I’m in the middle on this. Agatha was crying when she kissed Rio. We know from interviews with Kathryn that Agatha hates herself for loving Rio. I’m just afraid that didn’t come across very strongly. However, I feel like my opinions are veering more negative because of all of the negativity 😂 your opinions are markedly more positive, so I’d like some positivity, please 😭

Thank you for enjoying! 💚💜 Always happy to throw some thoughts anyone’s way if it helps :]

So, the trick I think for Agatha in general and even for Rio – or really, any character that's complicated – is this:

A few things can be true at the same time

Let’s start from a meta (Doylist?) outside-the-text pov first:

Jac Schaeffer loves ambiguity and complex characters. She’s positioned Wanda and Agatha as both their show’s protagonist and antagonist. She doesn’t see characters as set heroes or villains. She seems to genuinely enjoy people having their own interpretations, and things not being black and white or having a single definite answer.

In interviews I think Kathryn Hahn has also been careful to talk about how Agatha and Rio have a long and complicated relationship. If she had to pick one word it would probably be that. If she had to pick three words I think it would be "love, respect, and hate" – which she used in her recent interview.

And to be honest, I think all the interviews with Schaeffer and the cast have been limited in really digging into this relationship because they've had to avoid spoilers for most of the season as Rio being Death feeds so critically into their dynamic.

I get that people tend to have confirmation bias and focus on bits that fit with their world view so while yes, Schaeffer does talk about how Agatha and Rio fall back into the muscle memory of that love and the love they have is true, there's also the other side of the coin to this complicated relationship which is the hate, resentment, anger, and manipulation (mainly from Agatha).

So back into the text: Was Agatha manipulating Rio by kissing her? Probably yes? But that's Agatha.

And importantly, Rio knows this and that's who Rio fell in love with.

You know the ol' fable about the scorpion and the frog? Rio knows she's in love with a scorpion. Rio sees through Agatha's more obvious lies. She even finds a lot of them amusing. She knows she's going get stung and it hurts like fuck but she's also Death. In one form or another, she can endure.

I'm reminded of that Doctor Who quote: Do you think I care for you so little that betraying me would make a difference?

Was there love there? I like to think yes, there was. There are enough glorious GIF sets going around for you to fully appreciate it in the performance.

Here I ask: what's Agatha manipulating Rio for, with the kiss? Is she distracting Rio so she can more easily become a ghost?

The whole ghost thing would annoy and piss Rio off yes, but if you think about it, that's actually a win for Rio because she was genuinely upset seeing Agatha dead.

Yes Rio will probably be mad – she grieved for you dammit – but I think she'd eventually find it amusing her clever witch got away again. Rio wants to keep coming after Agatha. That's their thing. That's why when Agatha sets the cost of taking Billy to be Rio not seeing her ever again, Rio is crushed.

Agatha becoming a ghost is kind of an overall win for all parties really: Agatha wins by having Rio let Billy go, and she can continue to go after power and knowledge, and Rio can continue to chase her and they can continue annoying the hell out of each other.

[molsno]

god, what happens next is so good. the character writing is just spectacular. it fascinates me just how much depth there is to each character and how that contributes to the story.

milo's dni is the most revealing thing about him, and it's the very first thing we hear from him:

right off the bat, we can see what kind of person the protagonist is. he's a pastel softboi trans man who clings to a childish aesthetic to appear weak and non-threatening. despite being involved in a toxic relationship with another trans guy who attempted to rape and kill an 11 year old girl when he was a teenager and later murdered his girlfriend, which milo helped with by dismembering her corpse, he puts "pedophiles and unhealthy pairing shippers dni" on his carrd. which, ok, maybe he wants to distance himself from people like griffin now - except that's not really true, because he talks to, moves in with, and regularly hangs out with a serial killer fan who idolizes griffin and is even dating the guy while he's in prison. he puts "being against neopronouns" and "anti-otherkin" on the same level as those things. he explicitly denies any responsibility in the murders of haylie and savannah, despite having literally chopped haylie's arm off. all the while, he has "you deserve to heal" in big bold letters, while not applying that belief to anyone but himself.

right from the start, it's obvious that milo is not a good person. but he's also humanized throughout the story. sure, some of his softboi persona is a means of victimizing himself to avoid taking responsibility for what he did - and you could make the case that he was a victim in some ways. on the other hand, he also never got to grow up because he spent 5 years in a psychiatric institute. is it any surprise that he clings to the same aesthetic, interests, and hobbies he had when he was 15? he never got to stop being a kid, and how is he supposed to now? he didn't graduate high school, he can't get a job, and nobody wants to be friends with him because of what he did. it raises uncomfortable questions - namely, what happens next? milo served his time for the crime he committed as a minor. he was already punished, but now he has to live the entire rest of his life. what is he supposed to do?

that, I think is the most interesting part of this story. almost every character in this story makes it hard for you to like them, but they also have very human reasons for doing the terrible things that they do. I'll talk about some of my favorites under the read more, but be aware that there will be spoilers:

claire is one of the most interesting characters to me, just because of how unlikable she is.

when we first see claire in victim impact statement, she tries to ignore haylie, griffin, and milo as much as possible. she doesn't even seem to like her sister. she treats haylie as a nuisance for coming into the room that they share as sisters. she doesn't want to go to the open mic night to listen to haylie play her ukulele. when she finds haylie bawling her eyes out in the bathroom at anime central, she just looks away, as if to say "you chose to date your shitty boyfriend". when she hears haylie and griffin fighting upstairs, she just pretends not to hear it. when haylie is curled up in terror later, claire puts on headphones and turns her back to her. her headphones become a way of drowning out haylie's screams when griffin is around, and because of that, she doesn't hear haylie screaming for her life, and ends up finding her corpse in the kitchen.

that's why I don't find it surprising at all that she becomes an outspoken transphobe who wants to take her anger out on the trans people who murdered her sister. she goes to media events and publicly degenders milo and griffin. she calls aaron's friends trannies. I think it's easy to misconstrue her as a terf, but she literally doesn't even pay lip service to feminism. how could she? she knew that her sister was being abused by her boyfriend, and she did nothing. let me remind you that she lives in a house where "smash the patriarchy" is embroidered on the wall. she doesn't care about any of that. she just wants a scapegoat. she wants to make the law impose harsher punishments on minors who commit violent crimes because she doesn't know what else to do with her life. she very clearly hates herself, becoming an alcoholic to cope with her guilt. she pretends to care about haylie and fight for this law because it's the only way she can convince herself she's a good person, even though she can see that doing what she's doing is turning everyone against her.

and then that brings us to audrey. it's difficult to like her, too, because she's dating claire despite all of the horrible things she's doing. but at the same time, I can see where she's coming from. her mother died of cancer and she and all of her other black siblings were adopted by conservative christian white parents. she's still christian to this day, and makes a point of separating herself from "criminals" by insisting that she has nothing to do with them because she goes to church and takes care of her family. she doesn't want to disavow the law that claire worked so hard to pass because at the end of the day, it won't affect her personally, even though she is aware that the justice system disproportionately punishes black people. she very clearly has a lot of internalized racism, and I think that's best exemplified in the way she draws herself. despite having pretty dark skin in real life, she draws herself as light skinned as claire, her white girlfriend:

like, it's hard to like audrey, but you can clearly see why she's made all of the decisions she has! she idolizes claire because it's her first lesbian relationship. the way she sees it, claire can do no wrong. audrey does actually seem to be aware that her girlfriend is doing terrible things, but she essentially just plugs her ears and tries to ignore it. that's why she doesn't go to claire's campaign events. she ignores all of her girlfriend's flaws because claire is essentially her savior. because she has claire, she doesn't have to go back to her family, to her abusive alcoholic white father. she doesn't have to actually take care of her younger siblings, which is a responsibility she's foisted off unto mark. that's why she ignores that claire is just as much of an emotional drain as her father. she's highly depressed, she's an alcoholic, she trashes their bedroom (leaving audrey to clean up after her mess), she puts up an emotional wall and dismisses audrey's attempts to comfort her, and dismisses audrey's own problems as being less traumatizing and less important. by all accounts, claire is a terrible girlfriend and a terrible person, but because audrey idolizes her as her savior, she stays by her side. I'm really looking forward to seeing how she reacts to claire's disappearance in future chapters.

and then of course, there's vikki. she's been doing something incredibly disrespectful for years by making true crime videos where she talks about the victims and killers like it's all a joke. she makes a video about whether ethical necrophilia is possible, and makes a callous, bitter joke that the concept of "respect for the dead" is antiquated, because nobody respects her as a trans woman of color even though she's still alive. for this comment, people have harassed her online endlessly, enough that she had to make a video called "STOP TELLING PEOPLE I FUCK CORPSES". that doesn't stop her from making a video about the murder of haylie, complete with an interview from milo. she'll throw him under the bus if it means getting the attention off herself for a bit.

and yet, I think out of everyone, I feel the most compassion for vikki. yes, she used milo for content and called him a "sad little blonde girl", but I can understand where she's coming from! like, again, she's a trans woman of color in the true crime community. she knows the archetype milo is trying so hard to be in order to avoid taking responsibility for what he did. like, I've personally seen trans women of color who are victimized by white trans men who pull the same exact shtick as milo over and over, so I completely understand her frustration. that said, she also realized she went too far and tried to apologize, only to find out she was blocked and that milo basically wrote a callout post against her. I think it says a lot that vikki was one of the only people to actually try to talk to milo, even if the way she went about it was wrong.

vikki does things that are disrespectful, but to be honest, it's not that surprising! she grew up in a 90% white town in the middle of nowhere, got assaulted by multiple white boys for being a faggot, got sent to alternative school, worked for a funeral home as a teenager, and transitioned. not only is she desensitized to death, she's angry that people revere the dead more than her.

it's astounding, really! what happens next is so well written because it makes you feel conflicted about each of its characters. what are we supposed to do with these people who do awful things? a lot of the intrigue in this comic comes from seeing how each of the characters handles this question as they deal with the other characters who have done terrible things, while they themselves are deeply flawed as well. I think the writing really forces you to contend with the idea that these are all still people, and that their humanity needs to be recognized even if they do terrible things. it makes you ask, what happens next?

[theemissuniverse]

WHO IS YOUR MORTAL KOMBAT 1 BAE BASED ON YOUR PERSONALITY TYPE [MALE MK CHARACTERS]

INTP VERSION

LOGICIAN

A/N : Before y’all try to correct me - got this information from the personality database app so if you wanna tell me I’m wrong then blame the app. Also don’t take it THAT seriously. It’s just for fun. I will do a female version after this. Also please LIKE THIS TF UP. THIS TOOK ME WAY TOO LONG AND I DID CHARACTERS I HATE/DONT CARE ABOUT SO IT COULD BE FAIR PLEASE DONT DO THIS TO ME. Also, also do not say I picked favorites because unfortunately this is my personality and the characters that I wanted when I ran it through the system DID NOT match close to 100% so yeah

WARNINGS : none I think

First, what is an INTP individual?

INTP’s are logical and analytical "Logician" who prioritize knowledge and understanding. They are known for their interest in stripping away superficial details to get to the underlying principles of a system or idea. They may be seen as absent-minded professors who are highly intelligent and enjoy developing and organizing their subjective understandings into consistent systems. They are flexible and tolerant, but may become rigid when their beliefs are challenged.

Your compalability/relationship with all the MK 1 Characters

Baraka [ ENFJ - protagonist ]

Chemistry : 92%

Relationship Type : Playmate

Shared Value : Abstract

Communication Style : Educational

In a relationship, Baraka will give you anything you desire. He is always willing to do anything you ask for to please you. He wants you to be well taken care of. He wants to see you at your best even though most days he feels at his lowest. Baraka does fear that one day you might leave him for someone he feels as though is more worthy. So, he’ll always try to give you everything you have ever wanted. Your communication is always an understanding between the two of you. The two of you get each other.

Baraka is actually playful with you despite how serious he can be. He feels comfortable with you. Like he can be himself. He doesn’t have to hide who he is when he is with you. Everything just feels right. Sometimes the two of you don’t share the same goals but that’s okay. You two are different and Baraka understands that.

Bi-Han [ ENTJ - commander ]

Chemistry : 99%

Relationship Type : Soulmate

Shared Value : Intellectual

Communication Style : Rational

In a relationship, Bi-Han will try his best to be gentle with you despite his nature. You are his peace. The coldness to his ice. There is no better person to calm him down other than you. He is grumpy with everyone. It’s always him versus the world. That’s not the case with you. It’s always you and him. Together. Bi-Han feels like he can trust you and trust is an absolute big thing with him. If he cannot trust you then he mind as well treat you like everyone else. His communication is always calm considering how cold he can be. He is willing to talk through whatever problem the two of you face. Even though some days he doesn’t feel like it.

Bi-Han has a sense of obsessiveness over you. He feels like he needs you twenty four seven but he will never show it. He’s still a little hasty on showing affection but trust that he feels it. He wants to show you but sometimes it’s hard given how he is as a person. It has nothing to do with you, it’s him. Bi-Han will always try with you. Sometimes he can get a little pissy with you but you know how to handle him so it never gets blown out of proportion. The two of you are the best when you are together.

General Shao [ ESTP - entrepreneur ]

Chemistry : 83%

Relationship Type : Supervisor

Shared Value : Pragmatic

Communication Style : Inductive

In a relationship, Shao will lead, guide, and protect. He will make sure you are alright. Make sure that no obstacles stand in your way. He will always make sure you are making the right decisions. He wants what’s best for you. He will protect you with his life. Nobody will dare threaten his queen. Nobody. Shao feels that you are his very weakness. (And to him this man has no weaknesses.) Sometimes he hates it. He hates the way you make him feel.

Shao will make people bow to you. Will make people worship the ground you walk on. He will not stand for anyone to treat you horribly. Unfortunately, the communication in your relationship is undoubtedly horrid. Shao does not know how to speak to you or confess his feelings which leads into fights. At the end of the day, Shao will always make sure you are safe.

Geras [ ISTJ - logistician ]

Chemistry : 82%

Relationship Type : Eye opening

Shared Value : Systematic

Communication Style : Reductive

In a relationship, Geras will show you nothing but kindness and compassion. You are not kind to yourself. He knows this. He will show you how to treat yourself. He will show you what you truly deserve. He will not back down even when it gets hard. He will stand by your side and help you experience the feeling.

It is not just yourself but to other people you have a hard time expressing your compassion to. Not to worry, Geras will help you. He will show you how to be kind, gentle, and caring to others. When you do, it makes you feel better about yourself. Geras will always be there for everything. Even if your communication can be a little off, he will still show you the way.

Johnny Cage [ ESTP - entrepreneur ]

Chemistry : 83%

Relationship Type : Supervisor

Shared Value : Pragmatic

Communication Style : Inductive

In a relationship, Johnny’s ultimate goal is to make you laugh. He doesn’t care what the situation is. If you’re upset or if you’re happy as can be. He will always try to make you feel better. He can’t stand when you’re sad. He can’t stand when something bothers you so he likes to take away everything that makes you feel bad about yourself with laughter.

Unfortunately, sometimes Johnny claims you are too serious for him and you claim he is too childish for you. Sometimes the communication isn’t really there but Johnny is willing to put aside all that because he loves you. Johnny loves showering you with gifts and telling you how “hot” you are. You’re perfect to him. His little movie star.

Havik [ ISFP - adventurer ]

Chemistry : 92%

Relationship Type : Consigliere

Shared Value : Pragmatic

Communication Style : Analytical

In a relationship, Havik’s more chaotic nature ceases when he is with you. It is always an interesting experience being with him but you don’t mind it. He gets to show you his way and you will show him yours. Two different worlds colliding may be overwhelming but Havik will be grateful for the experience.

Havik wants to show you what life is all about. He wants to show you adventure. He wants you to experience his world and his thinking. He wants you to understand him because he feels like nobody really does. As long as you let him, he will love you like he’s never loved anybody before.

Kenshi Takahashi [ INTJ - architect ]

Chemistry : 98%

Relationship Type : Twinflame

Shared Value : Intellectual

Communication Style : Speculative

In a relationship, Kenshi will always be there for you no matter what. Kenshi will be the one that will never go away. Even if you are at your lowest. Even when everything feels pointless. Even if you two fight. There is no driving Kenshi away. The two of you will figure it out. He’s determined on that. He will die on the hill every time. The two of you are so similar that you click every time you are around.

Every time he kisses you, it’s like fireworks. You are more to him than a girlfriend. You are his best friend. Someone that is deeply sewed into his soul. He will never run away from the feeling he has when he’s with you. Never will back down. He accepts who you are completely. With all your faults and all your hardships. You are a hard person to love but not to Kenshi. To Kenshi, you are the only one he can love.

Kuai Liang [ ISTJ - logistician ]

Chemistry : 82%

Relationship Type : Eye opening

Shared Value : Systematic

Communication Style : Reductive

In a relationship, Kuai Liang always wants the best for you. He will do anything if it means it is for your best interest. Protecting you is something he does not take lightly. With everything in his being, Kuai Liang will protect you. He will make sure you are fine emotionally and physically.

It will always be you. Nobody else. Some people may find this rather annoying by Kuai Liang but he doesn’t care. Protecting you is all that matters to him. He can’t stand when he sees you upset. He’ll break down with you when he sees this. He’ll always try to comfort you as best as he can.

Kung Lao [ ENFP - campaigner ]

Chemistry : 82%

Relationship Type : Coach

Shared Value : Abstract

Communication Style : Impassionate

In a relationship, Kung Lao wants nothing more than to make you feel good about yourself. He knows it’s hard for you. You are not in tune with yourself but he will help with that. Kung Lao makes you feel beautiful every time he’s with you. He makes you feel special. He will make you feel like you are the only one that matters to him. Like you are the only one that is important.

The communication you two have is always filled with passion and great emotion. Kung Lao will never talk bad about you. Even if he is mad at you. He knows you. He knows you cannot handle the harsh words because he knows you believe all the negative things you think of yourself or other people have said about you. He will not stand for it.

Liu Kang [ ISFJ - defender ]

Chemistry : 81%

Relationship Type : Analyst

Shared Value : Systematic

Communication Style : Reductive

In a relationship, Liu Kang will try to protect your peace. You are an over thinker and tend to always believe that everything will turn to worse. He’ll always try to take away any stress that is on your shoulders. One thing he does hate is your guy’s communication. Sometimes you are not comfortable with talking about your feelings and Liu Kang absolutely cannot stand it. He understands giving you your space but not speaking to him when you feel down or something is wrong drives him crazy. Liu Kang’s wit always charms you and makes you laugh because he’s not over the top with it.

Liu Kang is always patient with you. Especially with your strong emotions. You are emotionally reactive with everything but it is something he can handle. Sometimes when it become far too much, he’ll hold you in his arms and whisper how much he loves you. He’ll make you feel like you’re the only woman in the world. He truly wants you to feel loved with every fiber in his being. Because you don’t like to talk about your feelings, he is always analyzing your body language and your speech to see if you are alright. If he deems you are not, expect a long talk of how much he loves you.

Raiden [ INFJ - advocate ]

Chemistry : 91%

Relationship Type : Advisor

Shared Value : Abstract

Communication Style : Speculative

In a relationship, Raiden will try and be the man you want him to be. He’ll be the man you always thought of in your head. He’ll make your dream man a reality. Raiden will always try to guide you to the right choices in life. He wants you to succeed. Your communication is always interesting. It is neither bad or good. Your goals are a little ways from each other but Raiden will always support you. No matter what.

When you feel like a mess, Raiden is there whispering in your ear how much he loves you. How important you are. He will make you feel like you are the most important person in the world. He wants you to see yourself how he sees you. He looks to you like you are his prize possession. Like you are his world. There’s no amount of anything that can change the way Raiden feels about you. Nothing in the world.

Rain [ INFP - mediator ]

Chemistry : 82%

Relationship Type : Supporter

Shared Value : Abstract

Communication Style : Analytical

In a relationship, Rain shows you nothing but respect and support. He is your number one support system. In everything, he will help you succeed. Respect is another thing he does not take lightly. You are his goddess, his queen. He will treat you like he needs to worship the ground you walk on.

He’ll always support your ideas and beliefs. Even though most of the time he does not agree with them. In the slightest. He knows that supporting you is more important than him trying to push his ideas and or beliefs onto you. Your needs matter and he understands this. Rain will also allow you to call him by his first name. You are one of the only people to have this privilege so know that Rain means well.

Reiko [ ISTJ - logistician ]

Chemistry : 82%

Relationship Type : Eye opening

Shared Value : Systematic

Communication Style : Reductive

In a relationship, Reiko sees that there is more to life than himself when he is with you. He is a very selfish individual. Not when it comes to you though. He’s learning to put his significant other before him. He has to in order for the relationship to work. Otherwise the relationship is doomed as you can also be quite a selfish individual.

Reiko will try to give you gifts because he is not familiar with any other way of showing his affection. The two of you will have to teach each other how to love one another. It’s a rocky start but Reiko will get the hang of it. The relationship means so much more to him than you could ever realize.

Shang Tsung [ ENTP - debater ]

Chemistry : 81%

Relationship Type : Preceptor

Shared Value : Intellectual

Communication Style : Impassionate

In a relationship, Shang Tsung will put your needs above all. This is strange for the sorcerer as he is used to being selfish. It is not something he is familiar with but he can’t help himself. The more you’re around him the more he has this sense of urgency to try and give you the world.

Shang Tsung will always make sure you are well taken care of before going off doing his business. One thing about him is you will need to support his plans. Whatever they be, he needs someone by his side. Your goals usually align with each other and are smart. Your conversations are usually filled with great emotion and it’s something he can’t pull away from.

Syzoth [ ISFP - adventurer ]

Chemistry : 92%

Relationship Type : Consigliere

Shared Value : Pragmatic

Communication Style : Analytical

In a relationship, Syzoth wants you to feel like he is your home. He knows how it feels to be unwanted. He wants to shield you from that feeling. Nothing in the world matters more to him than you feeling safe. He cannot have you feeling down or feeling unsure. You need to be indefinitely secured.

He does not play any games. Syzoth will always try to advise you on what to do but will make it very clear that he is not trying to control the shape of your destiny. Whatever you desire, he is pleased with. He just doesn’t want you to regret anything or live in the past. Syzoth will make sure you feel safe in the beauty that is you.

Tomas [ ISFJ - defender ]

Chemistry : 81%

Relationship Type : Analyst

Shared Value : Systematic

Communication Style : Reductive

In a relationship, Tomas will always be there when you break. He will always be there when you cry. He will always be there when you can’t find it in yourself to stand on your two feet. He is the glue to your soul. Tomas believes you are capable of doing anything but he knows that’s just something that’s hard for you to believe.

He’ll try to comfort you. To hold you. To kiss you. Sometimes it may not be something that’s physical that you need. Maybe it’s something that’s mental and Tomas will try his best to help you in that department. Seeing you break makes him break and he cannot live with himself knowing that if he didn’t try to help you, you would get worse.

if you’re an INTP then your soulmate is ENTJ

That means your perfect match for a soulmate is

BI-HAN / SUB-ZERO

Your perfect match for a best friend is

KENSHI TAKAHASHI

Here are runner ups that you could end up with (romantically)

(in order of best all the way down)

SYZOTH, BARAKA, HAVIK, RAIDEN, JOHNNY CAGE

FUN THINGS ABOUT INTP TO HELP YOU CONNECT MORE

INTPs are typically non smokers.

INTPs typically use dark humor.

INTPs usually are atheists.

INTPs are usually emotionally reactive people.

INTPs typically don’t consider themselves smart.

INTPs typically wear glasses.

INTPs usually don’t fear death.

INTPs usually watch horror movies.

INTPs typically have low self-worth.

INTPs are usually short tempered.

[jouxlskaard]

Strap in, fuckers. This is a long one.

I've seen a lot of discourse and discussion recently about why TMAGP isn't resonating with listeners as much as TMA did, with a lot of people pointing towards the infrequent structure of each episode and the lack of subtlety that TMA had once excelled in. And while both of these are true, I think the main culprit that has caused these problems for listeners is one thing: the pacing.

TMAGP is only going to be 60 (Edit: 90) episodes long, compared with TMA's absolute behemoth of 200. When I'd found out about this, I'd assumed that it meant TMAGP would have a much smaller story - not having to establish as much information as TMA did, and allowing the story to have lower stakes as a result. This certainly wasn't a bad thing, as many sequels that have tried to one-up their predecessors have gone disastrously wrong, but I knew that the structure would be different to TMA as a result.

However, from the 12 episodes that we've seen so far, it appears that TMAGP is going to have similar levels of stakes to TMA - not the same stakes, of course, but they'll likely be on close to equal footing. This means that TMAGP has to establish the same amount of information to listeners with significantly less time to do it in, and the pacing has to speed up to adhere to that. In the first 12 episodes of TMA, we had established one possible recurring statement character (Gerry), a disturbing worm woman (Prentiss), and the fact that Jon doesn't like his assistant and refuses to believe any of the statements. In the first 12 episodes of TMAGP, we've established every important protagonist and what they sound like, two recurring statement characters (Bonzo and Ink5oul) with one that has already physically appeared, much of Sam's backstory and his ties to the Magnus Institute and the fact that something is deeply wrong with their workplace. That is a big difference.

This difference in pacing is what I believe is turning listeners away from what they'd originally enjoyed about TMA, because there's no longer that warm, comforting atmosphere when you listen to it. Its sound isn't designed to come from a tape recorder and a tape recorder only anymore; it's no longer a sit-down and listen to the Archivist tell you spooky stories for 20 minutes anymore; and, like I mentioned earlier, the structure is no longer the same throughout each episode. The horror anthology aspect, whilst still being there, has now taken a back-burner to the metanarrative because so much has to be established in so little time. To many, that's a bad thing. They listened to the original because they liked the statements, and the little things connecting them hinted to a much larger story at play. When this story was revealed, we got to see Jonny Sims and his brilliant prose at its best, because there was no longer anything to hide and the statements were in their purest forms - no longer having to establish information to the audience, and simply basking in the fear.

I'm sure we'll get to see the same thing in TMAGP once the narrative reaches that point, but the current pacing has uprooted a lot of listeners' expectations for the show. I'm going to listen to the entire thing, personally; yeah, it's different, and it doesn't deliver the same vibes and comfort as TMA did, and I probably won't be able to fall asleep whilst relistening to the more obscure episodes like I could before, but in a frankly disturbing way, I'm still fascinated with what Jonny, Alex and the other writers have created. This type of horror is the only kind that I genuinely enjoy, and I'm excited to see what direction Protocol goes in.

Edit: I feel like I should clarify that I don't see this comparison as something that takes away from TMAGP. Alex has said that it's going to be different from the get-go, and I do think that comparing it to TMA is an exercise in futility to an extent. I just wanted to talk about the shows together because I feel like they complement one another, and the narrative beats that I've talked about are less to do with TMA on its own and more to do with general narrative structure. We have buildup, payoff and pacing no matter what show it is, because that's what makes a story. I think TMAGP could be taken a little bit like Deltarune in terms of its relation to the original source material: separate entities with some overlap in character and themes. At the end of the day, it's still early days for the show and this entire spiel could just end up gathering dust - I just think it's a cool thing to think about, and it gives me an excuse to infodump about how pacing can affect a narrative and the audience's response to it.

I wrote this while my cat was laying on me. Have a picture as a reward for reading this whole thing.

[nuttersincorporated]

After the Leave Together Ending

The Princess and the Protagonist have left. However, the Long Quiet and the Shifting Mound remain. Of course they do, only a small part of them broke free and left the Cabin together. The Protagonist didn’t kill the Shifting Mound and they left the Hero and the Contrarian behind when they departed.

The Hero was right, the other voices didn’t take long to turn up. The Princesses came too. Some we know from the game and others are new.

At the heart of the Cabin sit the Long Quiet and the Shifting Mound. Look at them one way and you’ll see two separate beings, side by side. Look at them another way and you’ll see them overlap and melded together. No matter how you look, you’ll see that they love each other.

Sometimes, a bit of the Long Quiet or the Shifting Mound will brake away and become their own person. This does not diminish the Long Quiet or the Shifting Mound in any way. If you take something from infinity, you still have infinity left.  Some of those people choose to re-enter the whole, other stay separate.

The Smitten and the Damsel are never far from each other but they do have other friends. The Smitten writes epic poems of courtly love, all dedicated to his beloved. The Damsel sings and paints beautiful pictures. If you ask her, she will paint you and show you what you look like (there are no mirrors in the Cabin).

The Stubborn and the Adversary fight and fight and fight. They’ll stop to chat with the others if anyone wants to talk though. It’s a weird relationship. It would be horribly unhealthy for anyone else but it works for them.

The Nightmare gets a bit of a wide berth from most the others but she is loved too. Sometimes, she rejoins the Shifting Mound other times, she hangs out with one of the newer Voices. He’s called the Phobophilia (lover of fear) and he loves her dark creativity.

The Cold is learning to feel again, the Paranoid is learning to trust and the Hunted is learning how to feel safe.

The Cabin is no longer a prison; it is a heart, a home and a world. It grows and changes to fit the needs of those who live within it. They can leave if they want to but most choose to stay.

If they do leave, it’s almost always a Princess and a Voice together. The only expectation was the Contrarian. The Contrarian left alone; they were also the only one who came back.

The Hero and the Thorn are thinking about leaving together. They’ve been in the Cabin a long time. Hero and Thorn are friends with everyone. They’ve helped make this Cabin a home for them all. However, any of them can do that if they want.

It might be time for a new adventure, outside of themselves and where they aren’t in control of their whole world. Hero and Thorn haven’t decided yet.

There is Cabin in the Woods. The Cabin is a heart and the Woods are a body. They are the Shifting Mound and the Long Quiet. They are one being, they are two beings and they are many beings all at the same time.

This is a love story.

[temis-de-leon]

Dear MC... My Beloved MC...

Characters: Satan x gn!reader

500 followers masterlist

Main Masterlist

Prompts used: confession + accidental confession + sneaking glances + love letter

.

You’re being obvious.

Too damn much.

MC’s words repeated in their mind for well over an hour, but nothing could stop them from ignoring the book on their lap to look at Satan instead. Thankfully, he was distracted with the latest edition of Every Devildom’s Cat Enthusiast’s Encyclopedia, but there was still a thin line between discreetly checking him out and blatantly staring at him for a whole evening and MC would soon cross it if they didn’t control themselves.

But how could they?

Trying to ignore his presence after all they discovered was humanly impossible and, unfortunately, they were very much human.

But something didn’t make sense, not coming from him. If MC had to use a word to describe Satan, that would be blunt. Sure, he was intelligent, pragmatic and quite adorable when it came to his dear feline friends, but above all, he was direct and unafraid to share his true thoughts. That didn’t mean he was inconsiderate, however. On the contrary, he made them feel seen and heard, ensuring they were well cared for and happy.

The words in his letters said so. His wish was to see them thrive and to be by their side the whole time, sharing memories and holding each other. MC wondered, feeling both guilty and honoured, how much of his expensive stationery he had wasted in writing all those confessions only for them to end up covered in blots of ink and discarded under his bed and his endless pile of books.

Although they had to admit, their name was prettier in his handwriting, even when crossed out.

Satan gasped in the chair before them, suddenly breaking the peace of the library and making MC’s heart beat its way up their throat. They looked at him with blushed cheeks, afraid of the possibility of having been caught, but the demon was purely focused on his encyclopedia. His eyes were wide open in fascination, no doubt marvelling at the discovery of a new cat fact.

“Look, MC!” he shouted in a whisper despite them being the only ones in the room. MC could only watch and hope the chimney explained the warmth in their cheeks as Satan got up and sat on their chair’s armrest. He showed them a picture of a medieval painting. The ugliest rendition of a cat stared, with what looked like existential dread, at MC’s soul. “Do you think there were cats that looked like this back then?”

“I sure hope not” they mustered, not moving their sight out of the picture to avoid his gaze. “It looks like Belphie drew it”

The breath of his chuckle reached them and MC had to force themselves to not get startled and recoil, even when their shoulders ached to shrink and hide their exposed skin. Fortunately, he didn’t seem to realise that.

“Are you liking the book?

“Hm? The book…?”

Oh, yeah.

The book.

The whole reason why they went to his room in the first place.

In reality, MC already had said book and so did the bookshelves in the library, just not the same edition as him, which had the hand-written letters the characters themselves sent to each other in the story, maps and author notes regarding the lore and the investigation behind it.

It was a murder mystery fused with an impossible love. Also, the protagonist had a playful, yet lazy cat.

It was right up Satan’s alley.

And he had wanted to share it with them.

However, he happened to forget about his own love letters, thrown across the floor of his room in frustration and visible to anyone who dared open the door.

“You know I already like it” said MC with a nervous laugh, thankful for already reading the book days ago. “Though, I admit, the cover is beautiful”

“I’m glad you agree! I know the artist who did it, actually”

Now, why wasn’t that surprising?

MC fondly smiled as they listened to him, not so subtly studying his features, illuminated by the fireplace, and the curve of his smile when he talked.

“His wife is his muse and he uses flowers for hidden meanings. These on the cover mean something like undying love and trust; the dog represents loyalty, but I think a cat would’ve been better”

That managed to finally make them laugh, which caught his attention. He stared at them in surprise and poorly hidden tenderness, leaning over them to put his arm behind their back. MC tried to stare back, his written words reverberating in their mind more than any other time during the evening, but the weight of the silence was too much to bear.

“So what’s your…”

“I have to tell you…”

MC stopped talking, cheeks flushed in deep embarrassment as he also stayed quiet and nodded his head to ask them to continue, but it was like they’d forgotten how to talk. What was he going to say? Was he going to keep talking about the book? And what were they going to say?

Yeah, so I have to tell you something. When I went for this romance book to your room I saw all the different ways you love me. Isn’t that cool or what?

They’d rather die.

“You have to tell me…?”

“Nothing!” they interrupted him in a hurry, drowning even deeper in shame when his face contorted in surprise, eyes open wide and eyebrows raised. Lowering their face to avoid looking at him, MC grabbed the book until their knuckles turned white and got up, back facing him the entire time. “I’m going to get a shower; talk to you after dinner”

They were lucky they didn’t trip on the carpet, seeing how fast they fled the room. Falling in front of him after all of that was truly the last thing they needed, but they hoped an entire waterfall of warm water and a homecooked dinner would be enough to help them relax and think straight before coming clean to him.

.

.

Except they didn’t even get to dinner.

Perhaps an hour after the mortifying situation, MC found themselves staring at their blurry silhouette in the foggy mirror while tightening a towel around themselves. They were trying to enjoy the remnants of the warmth, vapour still floating in the air, but their mind was too busy and their heart was about to go crazy.

The ink from their name bleeding on the paper as Satan’s indecision had stopped him from finishing the letters remained in their mind, mixing with every part of their body and making them smile like a child with an earnest crush. A part of them regretted ever entering the room, consequently ruining the surprise of being confessed to, but the relief of knowing he loved them back was bigger and more powerful.

Oh, how they wished they could ignore everything and let him confess when he seemed fit, but witnessing such a vulnerable part of him without his knowing left a sour taste in their mouth; the best MC could do was admit what they’d seen and confess their own feelings while they were at it.

With a sudden sense of courage, they got out of the bathroom, immediately jerked at the coldness of the room, and went straight to their closet to get dressed. No one would care if they had dinner in their nightclothes; worse things had happened in that house. However, as soon as they finished and closed the drawer, a pounding rattled the door.

“MC!”

It was Satan, and he sounded impatient. Not like they could blame him.

What would it be better, open the door for him or allow him to enter? In that case, should they welcome him standing or sitting down? On the bed, the table? Cross-legged…? Would he think they were mocking him if they smiled? Should they stay serious?

“Are you there?” he asked with a tinge of nerves. A couple of seconds later, the doorknob slightly twisted, a sign of someone on the other side hesitating to open.

“Yes!” answered MC, rushing to let him in while mentally scolding themselves for the impulsiveness; but just as they were about to grab the knob, the door came right at them and a flash of yellow and green appeared in their vision, blue eyes in the midst of it all.

There were a few moments of silence between them and MC used them all to study his expression. Embarrassment, apprehension, hope… His cheeks were blushing furiously and he was avoiding eye contact, just like they had done to him at the library before.

“I won’t dance around the subject” he said. Blunt. Satan took a hand to his chest as if trying to subdue the beating of his heart and finally asked the dreaded question. “You saw the letters, didn’t you?”

It was only fair to be direct as well.

“Yes”

“So you know”

That wasn’t a question, but MC still felt the need to confirm it.

“I do”

I do too, they wanted to say. I love you too. But Satan beat them to it, closing the door behind him to give them more privacy.

“This wasn’t how I envisioned it, you know? I was just practising because I wanted it to be perfect, but nothing sounded right. Why I fell for you, how I feel for you, what I want for us… There were too many things I tried to say, but I feared it would be excessive for a letter and I kept correcting it. I realize now that I should’ve been more direct in my approach, so, MC: I love you. And I always will. I can only wish you feel the same”

His sincerity was overwhelming and it covered them in a coat of warmth. His eyes were glossy with hope, but his lips barely formed a smile, not daring to get ahead.

“Tell me all those things” finally said MC as loud as they could manage, barely a whisper. “I promise it won’t be enough”

They just hoped no one would come and ruin the moment.

.

.

Taglist: @ilovecandys2010  @ollieoven @kingofspadesdelusion @whimsybloom @tinyweebsstuff

@ay-chuu 🫶🏻