#to making them actually more complex than your main character. many such cases

[foursaints]

until ur blog i think i genuinely forgot barty crouch (jr❗️) was in the hp series- when u first started posting abt him i though "classic marauders character w only one line"- but no, he has lore?!?? like genuinely a whole ass backstory i forgot abt?!? and it's lowkey kinda deep too- just w his relationship w his father and his relationship w the de etc etc

i think the most interesting characters are always the really forgettable ones that jkr slapped with the "evil" label & then never bothered to flesh out... they have these tiny little nuances & contradictions that only serve to Further The Plot that are intended to mean basically nothing. but i like to make myself insane about them

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[maybevillage]

my really really long rant about endwalker

i'm not kidding this is really long. spoilers ahead of course, like immediately upon entry. sorry i sound so angry the whole time

unfortunately for me and for anyone reading this, endwalker is one of those cases where i like/d so much of what happens that the many weak moments make me more critical of the whole than i would be if it was just wholly bad like stormblood, bc it's a waste of potential. a lot of the time the moments i liked would even be happening simultaneously with the things i find so problematic: cheap storytelling decisions, cheap moments that only serve as fanservice or for shock value that only detract from a characters’ pre-existing complexity, poorly done rehashing of elements from shadowbringers, a lot of hollow pseudo-intellectual arguments, rushed and underdeveloped writing in one instance and then meandering wastes of time immediately after….these issues are so consistent that rather than try to break up endwalker's story based on these things, i will just try to run thru the whole thing chronologically and hope i don't get too repetitive. that's why this isn't an essay with some pretense of structure. i'll do my best.

what's crazy to me is i thought endwalker was going to be my second favourite expansion. this was despite not caring about its original main conflict--i thought fandaniel just wasn't a compelling or even interesting villain. he comes out of nowhere. and he's also asahi so that association is hard to break away from bc i find asahi silly. and he suffers from the same writing issues zenos does, where nearly every cutscene with them did little to develop their characters further from the baseline, only reiterated what i already know bc they literally never say anything else: zenos wants to fight wol, he's bored with everything life could possibly offer, fandaniel will ensure zenos can fight wol through his towers bc he no longer plays to the tune of his unsundered masters... even though what fandaniel was promising to cause were the final days i just didn't really care. in the wake of shadowbringers the final days are like a pretty big deal, but something about reviving a catastrophe i had just finished wrapping up--i thought, naively--made bringing them back seem really thoughtless. i don't really need to see anymore final days...like how much more do i need to understand how bad it was? i mean i think shb did a pretty good job????? of making the final days seem pretty fucking bad. why not come up with something new because this is endwalker and not shadowbringers haha? the only fresh thing about this new uncooler final days was the motivation behind them. fandaniel wanting to bring about the final days bc he wants to die and thinks everything should die with him vs emet-selch's unwillingness to die no matter what bc the final days took everything from him and he needs to bring it all back. still, recontextualising the final days from a past event into a present issue ruins them to me. whatever, i thought, there's no way we're letting the final days happen so what does this matter anyways. there's no way.

so yeah post-shb into ew was starting to lose me plot-wise. not the end of the world (LOL?) though bc the atmosphere in the beginning was so subtle and fresh and rich like dew in the morning that i was willing to look past it. going to old sharlayan i liked a lot. i liked going there not as a more typical homecoming for your friends but to instead uncover the sharlayan forum's cryptic behaviour. this kind of intrigue was what i really wanted after the grandness of shadowbringers and i really do think endwalker gave me that for a while. i liked the opening scene on the ship a lot bc it felt exciting and uncertain and new, especially talking to hydaelyn. i liked how she had become such an unstable variable after originally being the most anchoring presence in the entire game: learning she's a primal, whether she's actually “good” after listening to emet-selch’s explanation of her origins and actions in shb, and the fact that her appeals to her champions have been fewer and fewer… i thought her meeting with you at the very beginning of endwalker was cool and foreboding. i also really liked the emet-selch narration btw, i thought that was a fun choice. who better to guide you into the final stages of your adventure than the person who left you with that final, most important task. i wish this had been the only callback to his character at all. 

so a big part of why i like/d endwalker so much is all that atmosphere. and something i can't really put into words. it just felt cool and cohesive at the start. old sharlayan is one of my favourite locations now; i like that despite its rigidity and (to me farcical but w/e tangent) pursuit of rationality/knowledge, there's the quaint island charm and fresh winter sea and overgrown greenery and forest paths. i liked that the game enhanced the usual hubworld tour chore by having g’raha and krile follow you around to give you more personal anecdotes of the place, really gave it a more lived-in feeling, which really added to both them and the location. i also really liked all this charm and familiarity in tandem with the secret hostility of the place bc of the forum, having to sneak around and so on, sharlayan citizens not really recognising you somehow? but being very aware of a warrior of light threat to their way of life, even if i find that non-intervention way of life silly.

i also really liked labryinthos. it's a really creative place. i liked its uncanny false sky and controlled environment, and yet all the people scrambling about inside. and the music felt kind of magical like i had encountered another fairy area or something idk it all felt very whimsical. thavnair i really liked as well but i feel like my immediate impression of the place was kind of poisoned by the stereotypes, like the huge focus on trade and the first impression being undercutting foreign tourists but then i started to really enjoy the part where you run around with matsya and help him sell fish. i liked the mundanity and slow pace of that exercise bc it felt like a much more involved way of learning about thavnair and its current issues through conversations rather than the fetch quest slog, and this is one of the things i like a lot about the beginning of endwalker. the gameplay really improved i think bc they found more creative ways of having you interact with your surroundings, rather than having the usual running between npcs to fetch things for them or other chores. like rather than doing a string of quests and then being rewarded with development of the story, the gameplay simultaneously develops the story. like turning into frogs i thought was fun, testing nidhana’s aether lamp was fun, etc. it felt like they had better ideas about how to progress the in-between parts.

thavnair quickly started to upset me though bc it started to feel like the only relevance the location had was what they could give you for your military cause, that is, the scales. like alchemy is this place’s big highlight and its just the scales the scales the scales and the tower aughhhhhh!!!!!!! the tower!!!!!!!!!! i wish they had focused on something but i guess this is just to be expected with ffxiv...any interaction with a foreign ("foreign" as far as square enix eorzea is concerned) culture really boils down to how they might bolster your military efforts, the azim steppe for eg. so it felt like my concern for an individual (matsya) and the experience firsthand trying to help him with his day to day; the idea that every single person on earth is important and shouldn't be made to suffer, and helping that single person... was like overshadowed by something more focused on a “greater good", that is, the construction of the scales to defeat the towers to save the world ad infinitum. but if you played endwalker then you would know how this idea of only concerning oneself with a "greater good" and this diluting of the importance of an individual's life for the sake of this idealistic whole causes some problems for a certain someone..................so why didn't the game focus more on these themes? probably because at the end of the day it's a video game by square enix and you need a big boss to fight or something or bc this expansion is insanely unfocused i don't know. i feel like this concept about the importance of the small things that can add up to one life and how that one life is beautiful and important crops up with the significance of weeds despite its importance overall. i don't know if i think this is one of the main underlying themes of endwalker just poorly executed so as to not even be there or if i just wish it was one of its main themes. anyways i'm getting distracted, what i mean to say is thavnair gets dehumanised throughout the entire expansion in the most horrific ways possible so i guess this was just the start

moving on... i liked the part in garlemald a lot, which i didn't expect bc i don't expect this game to handle anything regarding imperialism well. i liked that the garlemald you finally experience, after it being one of your main enemies and this very proud nation, was just this dead quiet and ruined place. the quest where you follow that girl is another eg of how the gameplay was a bit more immersive, i think it helped me feel the loneliness and the danger of the place, that i could be a danger to this girl. that i really had to try if i wanted to help her. what i didn't like was alphinaud's and alisaie’s babying attitude towards the garleans? like ok yeah of course we’re gonna have patience and grace for GARLEMALD meanwhile lyse was losing her head at the ala mhigans whenever they disagreed with her. like sure arguing won't get anywhere but it felt like the twins were reckoning with children sometimes, it was so strange. but i did like that the game didn't shy away from making the garleans just unpleasant to be around at best, and an actual danger to you at worst. it's just better to me to make them harder to reconcile with so that there's no frustrating cheap shots at redemption but rather a good, sobering look at a society that's been totally and willingly misled. and i liked that alisaie's and alphinaud's attempts to help those garlean kids ended so badly, even though i'm not usually a fan of such cruel outcomes. it felt like we were seeing a garlemald not necessarily being punished for its actions more than we were seeing a place built on shitty ideals crumble bc of those ideals. i thought jullus was a good char and helped to carry that idea of disillusionment forward. i didn't care so much about sympathising with what he'd lost, but i did find it interesting how they contrast him with the legatus he's working under, who even while the place is in ruins is still more concerned with war than providing for the people relying on him. i don't think the part in garlemald is perfect by any means, like it doesn't do anything too brave, but ig it was a lot more subtle and complex in its storytelling than i expected. and it wasn't meaninglessly cruel. like i'm glad those shock collars put on the twins were only used to gauge jullus' emotional growth or something like him not wanting to activate them rather than them actually being fucking used which would have just made me close the game and not look back.

from here on is where i struggle to lock in for the rest of the story. starting with when zenos kidnaps you in the midst of the fighting at camp broken glass--i don't think i have ever been more immediately mentally locked out of a story. endwalker is darker than usual, trapping people in fleshy towers, two young girls lying dead on the ice, tentacles erupting out of tempered garlean soldiers... and so on. and while i don't personally like things that are overly dark or cruel, it's not that i think they're bad, just that with moments like that it's a lot better imo that a point is being made or they add something to the story, and that it doesn't feel soullessly random or disrespectful. unfortunately this stops being the case for the rest of the expansion..... like something about the weird eldritch feeling of fandaniel pulling you out of your body and putting you in a random soldier's was throwing me off immensely. it felt like i was playing a different game, like so disconcerting i found it distracting, because why would he not just do this to screw you over more often? i didn't understand them having access to such an unrestrained power. at the same time it was also just too wacky to really take seriously despite the apparent gravity of what was happening. zenos inside of my bunny girl's body??? i don't even understand why they did it? to piss you off?? the duty where you play as the imperial soldier was interesting i guess but i couldn’t understand what the meaning behind being made to struggle through that experience was... like didn't we just spend all that time sympathising with the garleans and wrap that section up already? why do i now need to sympathise with/experience firsthand what its like to be a garlean footsoldier? and it annoyed me because these parts felt emotionally rich, like stumbling across those garleans fighting that machine and trying to do your best to help them; dragging yourself across the ground to get to your friends before something bad happens to them, and running towards them before zenos hurts them while in your body--i thought all of that could've been really poignant if not for the actual situation being so silly?? they could have just kept some of those ideas, wol dragging themselves across the ground for eg--the extent to which they're willing to stop harm from reaching their friends (which reminds me of what vrtra says to you about the importance of protecting your friends the first time you meet him. but that was such a one-off moment that goes nowhere... i just wish ew would pick something, anything, to be a poignant message about love on planet earth if they want nihilism to be the main villain, and just stick to it)--and do something that felt a lot more relevant to the established story thus far? just felt totally pointless

what makes this worse is this ridiculous part is iirc right after fandaniel reveals that the entity tempering all of the garleans is varis reanimated as an ancient oh-so-important primal...?? like here's (what i thought was going to be) an actually important point in the story being sidelined for a moment that just goes absolutely nowhere. they certainly made it seem important for a moment, and i think this would've rounded off what was being said about garlemald well; the garleans are so taken in by the farce of their homeland that they think varis is calling them to reclaim their country over the radio, but all along what's actually causing their nation to fall apart is this monstrous version of their late emperor. the irony would've been interesting but they just do nothing with it... (i think desecrating a dead person's corpse by turning it into a monster is really weird btw, even weirder that they do it for no reason. whatever ew is weird.) i thought, considering that this plotline was being established from before endwalker started, that anima was going to take some time. not so. ffxiv would rather have you and zenos enact tropes from a disney channel movie. you merk that guy at the end of the tower of babil and from then on every important plot point the expansion could possibly have moves at fucking mach 567472838758745745

because why all of a sudden are you getting beamed up to the moon? and fighting ZODIARK? i was so confused when asahi i mean fandaniel was punching shit into that fuckgin allagan computer like fandaniel what the fuck are you talking about... i couldn't process anything that happened here. like i'll willingly put aside boring practicalities like why anyone can breathe on the moon, but not so much how fast this all happened and how out of nowhere--is this the reason fandaniel is also amon btw? so that he can use their allagan computers to do this? bc i honestly can’t find any other reason why him being amon is relevant when they revealed that in the tower of zot...like i dont get why that's important

and it doesn't get better after this is the sad thing to me. it doesn't pick itself back up. it is just extremely unfocused right until the endwalker. i was willing to move past getting rid of zodiark so quickly because it's not that i hold standard storytelling rules so dearly in my heart that i need the biggest final boss of the entire series to get a bit more gravitas. it actually ended up being a pretty interesting decision--dispatching the largest villain at the heart of the game being the catalyst for the biggest catastrophe you've ever heard of. like i like that wol gets played. but the entire mare lamentorum section that follows is disrespectful. this expansion suffers from some extreme tonal dissonance, bc how does wol learn that the final days are now upon them and then proceed to spend their time leisurely touring the moon rabbit facility to tell them that the clothes they’ve made for humans to wear isn’t fashionable? why on god's green earth does that matter at this current juncture? this part is one of the worst story-writing sinkholes in the expansion to me, bc why are the discrepancies between what the loporrits know of humanity vs what humanity is actually like something the story chooses to grapple with? we're building an ark to save humanity, and instead of approaching this in a contemplative or emotional way, the point of conflict they choose is logistics? in the expansion about nihilism? at best this conflict was overly realistic..... mostly it's just boring, and at worst the FINAL DAYS are now upon us, so why am i taste-testing carrots? how could the sharlayans, the most focused group of people on the entire planet, have been collaborating with the loporrits for decades and not even have one of the most basic aspects of staying alive squared away? i’m supposed to not only believe that nobody knew after all that time the lopporits think people only eat carrots, but also waste time on fixing this? whyyyyy would they even devote any time to this at all when there are so many more complicated and interesting ideas that they let flounder bc they rush through them at breakneck pace constantly? we just fucking killed zodiark! is this why they stick urianger up there to do all the fixing actually? to save time offscreen? maybe that's why they chose this asinine chunk of the story to start processing his character? though why they would choose to add more to a plate they can barely balance i don't know. i don’t even feel like getting into what they did with urianger bc it will just piss me off. i think only my love for rabbits and how i will never ever not find urianger precious were stopping me from putting a hex on square enix

the following section of the story is easily the worst part to me in the entire game. like i would rather replay stormblood multiple times in a row than ever sit through the final days coming to thavnair ever again. i've already said bringing back the final days would just be bad; a disservice to the time spent on it in shadowbringers. what more is there to say on that front? nothing. and the way ew utilises the final days tells me that the answer is nothing. it just wanted to unleash the violence of that event on the non-white area and spends an insane amount of time doing it. i can think of no other time in this game where there is so much wanton death and destruction for no useful storytelling reason other than to relish in the cheap shock of witnessing violence, violence they are unwilling to inflict on its white areas, because even in garlemald you only see the aftermath of what happens rather than being in the midst of it. it was actually making me feel fatigued. it was just so much of the same thing over and over with no real meaning to any of it. and that's not to say that meaning justifies suffering, but this is a game.....with a story... first and foremost? there needs to be some kind of reason to move the story forward? but nothing new or inspired is being said, just "the final days are really bad"

i’m actually not even sure where to begin so i’ll start with a glaring issue: i hate that people turn into abominations. people “randomly” turning into monsters just feels too unwieldy--how could there be any sense whatsoever that that situation is controllable? even learning that it's caused by feelings of despair is shit because emotions are so vague, how could there be any worthwhile attempt to control your emotions, let alone while watching your loved ones turn into/be eaten by monsters? this entire part felt so wildly out of hand/unpredictable to me that every single moment onward that wasn't more or less focused on maintaining this extremealy volatile situation felt like an unforgivable lack of priorities. it was extremely distracting to have it hovering over everything; everything else felt absolutely inconsequential in comparison. bc what the fuck do you mean people are randomly turning into monsters?? also the stakes were already really high just knowing the final days were coming, so raising them that much higher felt unnecessary to the point of it being hard to believe. and then bc you know there's no way any character important to wol is going to turn into a monster, subjecting commonfolk npcs to this just feels absurdly cruel, and also just made it obvious how much of a cheap scare it all was, bc it can't have any real narrative importance as a result of only happening to random npcs. it was all so blatantly fake-deep. there was no meaning behind them originally being people except for the useless horror of it--the scions still referred to them as monsters to be put down rather than as the people they used to be, just like any other monster in this game. dynamis was more of a retroactive explanation for why people turned into monsters, rather than people turning into monsters bolstering any understanding of dynamis. in shb the sin eaters had some method to them that made them more believable. you fight them throughout the story rather than them just being dropped on you midway through, they helped provide a picture of what kind of world the first was, they were emotional diving boards for characters like alisaie to develop personal goals and so on and so forth... the horror of the sin eaters had a narrative purpose. in endwalker it feels like they didn’t know what to do but wanted to replicate parts of shadowbringers, but didn't know why those parts worked so well bc they're too obsessed with trying to shock their audience. this part just sucked beyond description.

and it just continues to get worse. how can you be the one writing the parametres of a situation and you create something that's literally unmanageable, so that when its only manageable bc you need it to be, it's just so obviously shit writing? my sister described endwalker's writing as really contrived, like when they need something to happen (and that thing is often a really bad idea) they just shove it in there at the cost of keeping their characters in character, or having their story threads--both the interesting ones and the stupid ones--fall totally flat. she says they shortcut the writing. and it's true. for eg, the characters literally don't feel like themselves at times, or get utilised in really moronic ways. like when wol just watches the satrap die, another cheap scare btw he literally gets grabbed an eaten in a way my sis (i was ranting to her a lot about this game ok) described as straight from attack on titan. just gets grabbed and eaten. and this happens to him for such asinine reasons: 1. so that this random asf plot point of vrtra revealing himself as the true satrap can bear fruit. for some fucking reason. i struggle to understand why this is important at all but i guess it's yet another little sideplot that ew just can't seem to resist adding to its already towering plate at the plot buffet, like whatever is going on with urianger and moenbryda's parents/the loporrits, or zenos who now spends most of his time offscreen, or the twins and their father, etc, bc ew likes to waste time 2. so that g'raha (???????????????????????) out of fucking nowhere can have a big boy moment and direct the scions and the people of thavnair in their time of need. what on earth was that scene supposed to be? fanservice? a reminder that g'raha was a leader back in the first? which blows my mind bc mere moments before he had a scene i really enjoyed despite the circumstances, where after a man witnesses his son get turned into a beast and then stepped on by another beast because endwalker is literally jacking itself off to suffering and expects me to be doing the same... g’raha goes up to this man and stops him from panicking and turning into a monster himself. while i don't think any of this should be happening, i thought it was a nice take on his character to have a more sensitive moment in such a harrowing situation. i don't know, have a character demonstrate some emotional skills instead of the usual fighting ones. ofc all of this i thought mere moments before disaster. why was any of this necessary? literally why not just have the satrap, i don't know, take charge of his country when he's needed most, even if he's only been a figurehead the whole time? why let him go out so horribly when he obvious loves his people with his whole heart just so that vrtra can step in without any sort of conflict? i don't understand the focus on vrtra at all

and it actually just keeps getting worse.. the following part where you have to find matsya's friends at palaka's stand was awful. the friends have a newborn baby, so it's obvious that only that baby is surviving bc ew is convinced you don't know how harsh the world is yet. that must be why this part is so long? i'm repeating myself but so many other things that shouldn't be rushed get rushed, only for ew to devote a lot of time to sections like this where nothing changes or develops except for compounding how bad it all feels. i think it was at this point actually, that i realised endwalker actually had some underlying point it was trying to make. it would've been impossible not to realise bc of how heavy-handed it is. i'm not even going to try and paraphrase bc it was so random the way it was introduced i thought i had missed some lines of dialogue or something when it happened:

the suddenness of this felt like when a writer forsakes trying to show what a story is about and instead opts to speak to their audience directly through poorly disguised self-inserts. like i know things are bad right now guys, but the preaching tone of this is jarring. like maybe if you spent some time trying to develop your themes you wouldn't have to be doing this endwalker. i know you need your final villain to literally parrot these ideas for the rest of the game, but if this was supposed to be such a core point of the story why wait all the way until now to just beat me over the head with it? was watching a child be crushed underfoot supposed to make elderly man of palaka using the phrase "at journey's end" seem profound?

anyways then you go and try to save matsya’s friend (the mother bc the father has now died, of course). this leads us to another forced decision that doesn’t make any sense: alisaie and alphinaud fail to kill a single abomination--just the one solitary abomination that was stalking the poor woman--so that we can see it fling her into the water and her corpse dangling on the surface. in what fucking world do alisaie and alphinaud, who have single-handedly dispatched numerous abominations prior to reaching this point, fail to kill just one of them between the two of them in a way reminiscent of a cartoon, one being knocked into the other and them both falling over? how is that fucking possible? and then to somehow make things worse, because that's still possible, despite the fact that wol spends this entire segment in palaka’s stand being told by alisaie and alphinaud not to leave matsya alone because he can’t fend for himself, the twins suggest sending him back on his own to deliver the baby to palaka's stand? why??????????????????????????????

this is what i mean when i say the characters get used in the most bullshit ways for the most bullshit reasons. it's like the game needs as much suffering as possible to happen so that it can make a worthwhile point on this later on (spoiler: it doesn't) so it pulls shit like this. why would the twins, who we just watched try to spoonfeed the garleans cereleum straight from the tank, leave matsya on his own if not solely bc the story needs the doomerism of the Resolute Citizen to ring true? and this is also what i mean when i say the scions try to manage a disaster that is just not manageable, bc they for some reason believe that bc they've taken care of the abominations they saw in the area, that means the area is safe enough for matsya to go back on his own? like are we just suddenly pretending the nature of these creatures doesn't imply that anyone can turn into one at any moment? everyone is ALWAYS in danger? we're just going to mill around while matsya weathers the most potent fear of his life running back to the village on his own, with the baby of his friends who just died moments before, while we all know that extremely negative emotions cause people to turn into the monsters? why are we doing this after we just went to so much trouble keeping people safe (or failing to, really)? forget turning into monsters for a sec, why are we even letting him experience such painful emotions at all? anyways the fucking baby starts turning into a monster because this is endwalker.. but i will say that matsya running and chanting that little piece up there about how life is suffering to try and convince me it's true calm himself down was one of the cutscenes i liked the most from this entire part, maybe endwalker in general. it was another one of those emotionally poignant and well-executed moments that just suffers from how much i wish it was happening under totally different circumstances. i don't even remember why one of us doesn’t go with him, like i don't remember what we were busy doing bc it was that unimportant--no wait, i remember! we were waiting for matsya to reach the total end of his rope so that when all things seem lost, when those monsters obviously show up on his path back to the village out of nowhere like they've been doing the past painstaking quest after quest of this entire part, estinien and vrtra can get this really cool moment of jumping into save him! it all makes so much sense now. i've never seen estinien do anything really cool before like diving down from the sky with his lance, so i understand how this was a really important moment that the game needed to make happen. also how vrtra really needs to prove to the people he can be a good satrap bc ahewann just died and all. yeah, i totally get it. perfect. just great. 

what is the message behind despair turning you into a monster? we're about to get into it with meteion and try to convince her she's wrong--come out championing the idea that suffering is just one of the many aspects of life we need to accept, and yet we're going to preface that with a part where to feel despair is bad? you get punished if you do it? honestly?

whatever. elpis...we go here because we need to learn about the elpis flower. i'm thinking we're definitely just going to ask the watcher, right? like the guy on the moon who told us the name of the flower in the first place? and time is of the fucking essence here, so surely we just go back to the watcher and ask him what we need to know and come back? wrong. we're going back to the first. to talk to elidibus. i thought we killed elidibus? does nobody truly die in this game except for my favourite character? so wol gets sent back to the first, and there's this upbeat tonally dissonant little section where you catch up with some old friends like beq lugg and those kids you helped back in shb bc now is just the perfect time for pleasantries and remembering how good shadowbringers was. ew trying to relive shadowbringers was already something i was feeling out in thavnair fighting leagues of "terminus" creatures and not "forgiven" ones, and watching the carefully constructed horror and gravity of the final days get reduced to an average apocalyptic shitshow. so i can't say i appreciated this part. also people are indiscriminately turning into monsters. i can't help but have that hang over everything constantly until the end of the expansion.

anyways we go to the crystal tower and drag out elidibus even though i personally prefer when characters have their final moments and are properly laid to rest. like i hate to not only beat a dead horse but also reanimate said horse and then drag its corpse around. well fuck what i want. so elidibus willingly does this favour for us i guess and sends us to the past somehow with some useless warnings about how we won't be able to interact with our surroundings or change the past. i say useless because the former is just untrue, i'm not sure why he bothered to say it. the moment we step foot on elpis you get a nice gift of aether from emet-selch that renders you tangible and now you can proceed to live love laugh with him and hythlodaeus on elpis even though people are indiscriminately dying back home. and the latter warning, well. i don't know, that just seemed obvious. i'm kind of just a hater.

time to be positive again for a short moment, if you can believe it? emet-selch is one of my favourite characters. i enjoyed this new light cast on him...for a short while. i like his relationship with hythlodaeus and i really like hythlodaeus; i’m really fond of the faceless simulacrum version of him you meet in shb and i'm really fond of him now. learning about the unsundered world in person rather than through hearsay was interesting, and although i can't lie and say i don't think this all kind of felt like a huge tangent despite the important aspects of the plot that come out of it, i still like it. i guess it feels this way because a lot of big plot points have already been established, like the ark on the moon and the sharlayans' involvement and the final days, so this was all kind of too big to me to be coming this late into the story. it doesn't feel all that relevant to prior parts of the expansion either except for hermes, who has been poorly developed throughout, so okay, i get it. it's time to give one of the main villains some depth (i want you to guess if this is successful or not). hermes has a lot of qualities i really like. has a child, secretly nurturing a potent sadness, thinks differently from the world around him because at his core he’s too deeply empathetic…. even though i was still largely aware of the insanity happening back at home which i'm going to keep repeating, i still enjoyed elpis At The Start. the exposition of this part was easily better than its resolution. it was taking the time to develop hermes’ character so that you could see if the game was written well anyhow how he became the fandaniel of the present. i really liked his relationship with meteion too. it's getting hard to talk about what i like without simultaneously talking about what i don't like so i'm going back to criticising now, positivity over, sorry....

personally, i’d have been totally fine without any more development to emet-selch’s character. i think it was nice to see a fresh perspective on him and all, really rounds out who he is from what you know and what he talks about in shadowbringers. and i actually like a lot of the things he said throughout, not all of it, but a good amount of it was fun and sorely needed whenever hermes was being annoying, which was often. but there was a lot of times wehere i thought, i don't really need to be hanging out with emet-selch right now? i don't need my wol and emet-selch to be friends? considering who he is....? .............and what's going on back home? how many more moments showing how endearingly prickly he is do i need to see? like sure, i can enjoy this emet-selch fest in isolation of what's going on because me love emet-selch like it's not like i think these moments are bad or anything but i don't know, don't we have other things to be doing? i'm not diametrically opposed to fanservice, i like when things are kept fresh and lighthearted. but. well you know by now. about the people turning into monsters. i guess i just both enjoyed this part and wished it happened under different circumstances or in a different way or something, or maybe not at all, bc as things progress his character just gets more and more diluted.

i actually really liked meteion. i will say i’m really tired of non-human, overly childish girl children creature characters who become villains, because i think there's this concept where…idk how to say it? i wish i could find something that talks about this more... it's like the dehumanisation involved when non-binary characters or non-white characters are often not human (not that these things are done in the same way). but i feel like women or females ig are often the ones chosen to be non-human in this particular way...? like, when emotional labour is involved. or when it needs to be some taboo evil entity. it's like a guy and his part-animal female second lead or part-alien love interest or female-voiced ai system or android or abandoned girl he finds/rescues. it's kind of like the born sexy yesterday trope but without the blatant sexuality (i don't want to go on a tangent). quite often this weird quirky alien and playful girl child is a harbinger of destruction. take drakengard, for example, or fire emblem engage, or cc from code geass iirc, or veronica from fire emblem heroes.. there's apparently something about childishness and girlishness and innocence and corrupting that innocence or being fooled by that innocence that seems to incite fear of the unknown enough in people for villainous children to be a trope in general regardless of gender, but it was just something i was thinking about in regards to meteion's character, especially when she becomes evil. and this blurry line between her as a "being" with a consciousness and free well as GIVEN to her by hermes, and her as a "tool" to be used by him as well, doesn't really get addressed in any meaningful way at all. like sure, she doesn't need to eat but she can still enjoy candy apples and flowers, and can empathise bc often of her own volition she wants to cheer hermes up, but actually her ability to empathise is programmed; so let's send send her, this highly empathetic being (with consciousness and free will and tastes and personality) into the cold expanse of space for as long as it takes for hermes to find his answer, that's totally fine. why did he make it a girl? why couldn't they address the fact that the loneliest bastard in this entire game made himself a child? like i'm not saying there needs to be clear-cut definitions on what meteion is or why she or hermes take certain actions, but it feels like a lot of things regarding their characters are really complex and implied to be really deep, and then just don't go anywhere or are completely ignored or unexplained? and because these things are so present yet passed over, it leaves me genuinely confused about most of what happens on elpis and how these two specifically reach any of the conclusions they do once things start going south

like i thought what she and hermes were going to add to the story was going to be a lot more interesting and complex than what it turned out to be.....a banal mantra on the "mercy" of nihilism. i can barely reconcile what bothers hermes in the first place with what meteion concludes from her sisters' expeditions, like they almost feel irrelevant to each other. he's upset over man's lording over who deserves to live and the callousness of making and unmaking life. he feels sadder about the coming death of his friend than the average ancient, and doesn't want to accept meaningless platitudes about dying for the good of the star. ok, i agree with that. so he wants to know what meaning there is to life, if it can be so easily judged and discarded...? okay. so his answer is to....secretly create creatures without any of the rigourous testing they usually go through to prevent them from being dangerous, and then send them on a potentially dangerous and traumatising mission to answer his vague philosophical questions? like.......? so when she reports back traumatised and tells him every single society out there is suffering (which i just find so unbelievable btw), then the answer to his question must be that suffering is the meaning of life--which she figures bc she's an entelechy so i imagine she's highly susceptible to her emotional surroundings, and because his pseudo-intellectual question is so poorly framed (something only emet-selch points out in a throwaway line btw). and this alone spurs him on to allowing meteion to unmake their entire society in the most violent way conceivable? you literally tell him that the final days are coming as a result of his actions, but he's fine with it because he'd rather that than enact some policy changes at his workplace, or talking to someone? everyone seemed to listen and respect his decision when he suggested helping that creature learn to fly instead of just killing it, i'm sure he could've talked it out? isn't he in charge of the place? this entire section was so hard for me to follow bc i kept thinking something more complex was making everyone behave the way they were, when it was actually just totally senseless.

as an aside, i hate how they chose to make the way meteion reports information so cooly technological btw, it felt not only anachronistic but corny. i’m sure there's a better way to have her impartially report things without making her sound like she's reporting weather conditions on some distant planet in star trek. anyways, when you frantically search for meteion after she receives her transmission was another part that took up a lot of time for no reason. it just made everything feel so dire when i could barely understand why any of what was going on was such a big deal. and i’ll never be one to say that any bureau of anything should “detain” anyone, but why hermes was so frantic to prevent meteion from being brought to the convocation i just don't know. like he goes on the run with her so that he can hear the end of her report? is that really it? i just find it hypocritical that he doesn't want her to be sent to the convocation where they'll limit her free will or fucking whatever but he's totally fine with ordering the meteia into space? why am i being made to guess what the convocation is going to do to meteion when hermes is making it seem like such a big deal?? what fucking sense does that make? what on earth was he afraid of? their judgment? the convocation members deciding whether meteion is good for the star or not? could they not have just reasoned this out? aren’t they a "highly advanced" and "reasonable" society? like okay he sees through the veil of his utopian home but i just did not get a sense of how much it was bothering him at all, like i cannot stress enough how him going turbo feels like an insane jump from what his problems seemingly were. why did nobody stop to think this through or communicate to each other? is it because of the bullshit time paradox this game has trapped us in so that nothing we do will amount to anything anyways so we might as well make the most confused villain of all time be responsible for the biggest event in this game's history?

but it annoys me because meteion and hermes felt like such a waste of potential, maybe the biggest waste to me in the entire expansion. i was really intrigued by their wholesome relationship at the start, knowing that hermes was a main villain. and that he can't find connection or meaning in an otherwise "perfect" society, so he has to create it for himself and try to find it elsewhere, as far as the reaches of outer space... he wants to make what's hurting him stop hurting him. i like that he approaches such human desires with meteion despite her non-humanness, and that she can return those feelings to him. he wants to signify meteion’s return with a flower because they both like flowers… like those things we can’t put into words but share with others, moments, emotions, connections……..but nope. nihilism beam. it feels like the worst sort of retroactive writing ever. they didn't even think too hard about dynamis--this hugely important thing, except nobody has ever heard of it, aside from nidhana back at home? while members of the highest office in the most advanced society earth has ever had are left squinting.

and the entire section after you fight hermes just pissed me off. we kicked his ass so that we could stop him from inciting meteion any further, and yet we just let him hear her out anyways? he's yelling at you during the entire dungeon that he just wants the time to hear her out, we're chasing after him so that we can stop him from doing that, and then we just let him hear her out anyways? and then even when we do that she doesn’t even say anything different? she just goes right back to reporting on different worlds and how self-destructive they are and That's All She Really Proceeds To Say For The Rest Of The Expansion But Fucking Who Cares Anymore. so we let her repeat herself. this sends her into a spiral, because she's an entelechy who just got hit by a high frequency nihilism beam, but subjecting her to all that despair is only ever addressed by one of the scions in a throwaway line near the very end of the story in ultima thule... and then hermes...captures venat, emet-selch and hythlodaeus??? he captures two of the strongest characters in the game? did we not just kick hermes’ ass??? what is going on?

emet-selch: that's bullshit, and you know it's bullshit

hermes: *says more bullshit*

i really think hermes might be one of the worst villains in the game. it's a shame bc i think he's such an interesting character. i'm not sure why he started behaving like such an incel when he was right to be troubled by the things he was? why did they even bother have wol relate to him over experiencing sadness from loss if that just went totally nowhere? why does he behave so hypocritically? being saddened by loss leads to him setting the stage for the final days? him hating man's jurisdiction over other lives leads to him wiping emet-selch's and hythlodaeus' memories, and subjecting the entire planet to the worst test ever? he's not even morally grey or anything! just annoying! i saw someone say that it's even worse that he wants the ancients to prove that their life is meaningful to them, bc it's true, they do??? like isn't that what venat interrupts them from doing in the answers cutscene, calling back for that lost life? isn't that what you learn in shadowbringers? didn't an entire half of their population sacrifice themselves so that the other half could live? what the fuck else did they need to prove?

this part was pissing me off even more because i never even wanted hythlodaeus or emet-selch to learn about where wol came from or about the final days coming in the first place. i thought that was an awful writing decision. telling them just felt weirdly cruel to me considering elidibus explicitly told you there was nothing you could do to change it. maybe this is just my opinion, but why would anybody want to know that their planet is going to go up in flames and there is nothing they can do to stop it? telling venat i was like sure, she becomes hydaeyln so this makes a little more sense to me, but the other two…….? this is around when i was getting tired of the emet-selch cameo, because i don't really care to know what he thinks of his future self? i couldn't really understand what the point of any of that was? so it annoyed me even further that it amounts to nothing anyways when they get their minds conveniently erased. it felt like a fucking joke. why did we revive these characters, develop them, and then just treat them like tools...? like now that we're done using their powers and creation magicks--i thought, naively--we just toss them aside? like ohhhhh noooooo now they won't remember all the fun we had on elpis this is so sad......but at least before he got his memories wiped emet-selch, even though he definitely totally doesn't believe a fucking word i say, renews his shb vows to wol and leaves the future in my hands again? yeah, i totally wanted to hear him say that a second time. forget how deeply affecting and important a moment that was at the end of shadowbringers. i really needed to see him do that one more time in this shittier, more contrived context. that's really what i needed from endwalker. also i've been on reddit reading what people have to say about endwalker out of curiosity (ppl make a lot of good points that i haven't) and someone pointed out that moments before all this happens venat literally pulls memories from the aether around you so that we can watch hermes send the meteia to space. what on earth is stopping anyone from doing that for hermes, hythlodaeus, and emet-selch? but whatever, i already know the writing doesn't care how silly it is anymore. two of the strongest ancients get bound by a weakened hermes, only break out after the story conveniently needed meteion to start flying into space, and then venats lets her escape somehow even though doing so essentially dooms their entire planet. ok

so we’re back home and we have to go immediately help the thavnarians who are being punished for not being white again. the sharlayans were going to bring them to the teleporter to the moon in garlemald to start getting them on the moon, but oops, the final days have come to garlemald, so now we can't use the teleporter, so if you're thavnarian your life sucks. who saw that coming? absolute waste of time. so then we have to get rid of more beasts because we need to waste even more time doing something we already spent an agonising amount of time doing in thavnair. and then immediately after this we need to......wrap up yet another asinine plot thread endwalker is so obssesed with adding to it's already convoluted story: fourchenault excommunicating his children...? it seemed really important when he did this in post-shb, but materially nothing for alphinaud or alisaie really changed, everyone still gets into sharlayan no problem. ultimately i just didn’t really know why they chose to pursue this mini-plot at all because how many more pushes does alphinaud (i'm saying alphinaud bc he does not share that spotlight with alisaie lmfao) need to become resolute in his goals? he already does this throughout the series? they ruined arenvald's legs in post-shb so that alphinaud could become more resolute in his goals, why keep dedicating time to this? just keep juggling endwalker, just keep juggling. anyways we’re in garlemald, we calm the final days for now, zenos shows up out of nowhere to remind us he’s still in the game. and to be fair to him that was one of the most interesting cutscenes he’s had the whole time, and, get this--they have him randomly answer hermes' question? about the meaning of life? while talking to jullus? like jullus gets mad at him for not giving a fuck about causing what happened to garlemald, and zenos responds by saying: "ask any creature of this star and those above for answers, and they will tell you what suits their fancy. and they would be right to do so. what meaning there is to be found in the petty vicissitudes of your existence must be gleaned by you and you alone." like......? he just provides the answer right there in a conversation with jullus? did this expansion have any interest at all in putting any of its different parts in conversation with each other, or are we supposed to just try and build a good story like a puzzle, where the pieces, albeit interesting, don't actually fit together? weren't zenos and fandaniel working together at the beginning of the expansion? he should have just posed this question to zenos because the answer was apparently right fucking there, with the flattest character in the entire game, this whole time? whatever, i still liked this scene. alisaie putting a curse on zenos was very cool of her. so we're back in garlemald and....….tonal dissonance! puddingway shows up. cute scene where g’raha’s ears perk up also bc he's the one who hears the loporrits coming. just in case you forgot about g’raha, which is an oxymoron. and then maybe the second worst segment of endwalker...........we go back to labryinthos. 

now i love labryinthos. i thought it was interesting we only collected one aetheryte the first time we were there, and i was hoping the place would be as intriguing to me as it first was when we got back. admittedly learning that the sharlayans' secrecy only amounted to contributing to the moon project was kind of a let down, but i thought maybe there was still more to it. i mean, an ark to the moon? the abandonment of one's home planet? it's not like the ideas aren't there. let's go back to elpis for a second. one of the moments that really stood out to me during that part was a throwaway line that emet-selch says to wol after hermes starts freaking it:

he's right. i don't think hermes found society so truly beyond help that he couldn't turn to any one of his peers for help before devising such a reckless plan. but i'm not trying to rehash my issues with hermes, more that i think an interesting parallel could have been made, possibly, with the ark flying to the moon as currenlty the most viable solution to the final days problem? challenging this notion of just throwing it all away as a last resort? especially because it's so obvious to me that by the end of this expansion nobody is actually going into space to start a new life out there; trying to sort out living accomodations and acquaint the lopporits properly with earth is just a waste of time. so why not pose the underlying question of the entire expansion, about what makes life meaningful, to the last bastion of hope in the entire universe--the sole planet amongst millions of dead stars that still believes in itself? would it not just be free real estate to try and connect this story's multiple parts together by ...connecting this story's multiple parts together? the scions say repeatedly how much they'd prefer to protect their planet rather than leave it, and everyone on earth vouches for you because they don't want to leave, either. could they not have made a connection in some way between that ark and the meteia's voyage to outer space? could the writing not have turned around and asked the actual inhabtants of the planet of that we've helped and saved and laughed with and broken bread with or whatever the fuck what they think about the meaning of life, now that they have to leave that life behind? i guess fucking not??? i guess endwalker would rather only highlight civilians when they're being turned into abominations to drive home the same points about life = suffering constantly, and not the points about how despite the suffering life needs to be lived? because they don't actually seem to care about challenging meteion's nihilism when that can just be lazily solved by beating her up at the end. hermes could have been learning to love the world he was on, the smaller things that make it beautiful. because that's what he does, he creates this creature that is built to understand him, and it does and it shares these small joys with him. but nope, time to waste time doing fetch quests in labryinthos. find every single researcher who is obviously losing their mind with stress in labryinthos and give them their government-assigned lopporit while this hectic music with only one minute's worth of loop value plays in the background. go and deliver these papers with alisaie and alphinaud bc if you do a former friend of their father’s will tell them that their father actually loves them duh that’s why he disrespects them publicly every chance he gets. go follow one of the lopporits around while they sample fruits so that they can learn to make food other than carrots. go and watch urianger reconcile with moenbryda's parents even though she died all the way back in a realm reborn. fuck you. also everyone is still just a bad day away from turning into an abomination. just in case you forgot.

that shit where asahi shows up to take fandaniel away for the final time might be top three most bizarre scenes in all of final fantasy fourteen btw. i almost didn't want to mention it, but i need it on record how silly i thought that was. we are in the final stages of this expansion and it still can't stop wasting time. did we see ardbert's thoughts on elidibus using his body? no. but asahi was who they chose to get upset about this? ok.

i liked the trial against mother. you might have noticed i've had very little to say on venat this whole time. that might just have to be its own post or something if nobody is sick of me by now. but anything to do with working together with your friends to overcome a trial is good.

that's what i liked about ultima thule. at the same time, this is where the game finally just loses me forever. i think, somehow, even despite all the things i didn't like, the way the story is told i still enjoyed, even if what it was saying was often. bad. there's still a lot of moments i really liked despite it all. but after ultima thule i was just done. we get on the ark. great. i like that things don't go as planned because meteion intercepts our ship. but now meteion is finally here, which means it's finally time for me to reckon with the pseudo-intellectual nihilism she's been touting every chance she gets. it's hard for me to suspend my disbelief that every single society out in space wanted oblivion, but if that's what endwalker wants me to believe for the sake of its story making sense (oxymoron) then fine. ok. but that's all that's ever said. "life is suffering" "life is suffering" "the final days are really bad"

just the same pseudo-intellectual browbeating about how living just leads to constant strife and the most beautiful thing to do is to just end it all for everyone ever again. like sure, empath hears death cry repeatedly--i can see how meteion could change so permanently. i think that's fine. i doubt that's why she's so repetitive. i genuinely just 't think there's nothing anyone really had to say on this. and the thing is, we've heard this argument before? the idea that humanity is imperfect so they don't deserve to live? it will all amount to nothing, so why let it continue to exist? these are major points of conflict from shadowbringers because it's what emet-selch was always saying. the difference is that emet-selch is just an easily more interesting and fleshed out character whose arguments are largely more complicated, even if they're just as morally wrong. like it's extremely easy for me to answer whatever meteion is saying with a resounding no. and while i feel that emet-selch can also be easily disagreed with on what he believes, bc i do disagree--he at least introduces ideas that complicate the story and his own character. he challenges the scions on their hatred of primals--their god is a primal. he offers visions of a world where nobody has to struggle ever again, where strife doesn't exist, and so on and so forth. while that doesn’t justify his actions, nor do i think they should, i think he at least gives the characters something to think about. he throws their own actions back at them. why would the scions not want a world without suffering? when emet-selch asks alphinaud if he believes half of the sundered world would give up half of their number to save the other half, alphinaud is unable to answer because he knows that the answer is no. i don't think humanity should be tested, let alone with such an insane standard, but i at least think that the questions being asked in shadowbringers were interesting. there's a point to them. with meteion, all she basically says to the scions is that she’s going to fucking kill everyone they know and love in the worst way possible. nothing to chew on that wouldn't better be solved by just getting rid of the threat. i don't know why they even bother arguing with her ever. she doesn't even feel like a character to me in that last section of the game. and they keep trying to have her seem all scary by having her get really close to the screen or move around without warning which is all very silly to me. i at least did like how much of a threat she was, and the way thancred vanished, and then everyone finds themselves in that dark area in front of the ship wondering where he is while the ultima thule music plays for the first time, distantly and quietly. i actually really liked that part. i thought it was really moving. i wish it had stayed that way.

the first area of ultima thule was the best part imo. i liked the immense darkness and quiet and lack of wind and the foul air and  yet, green grass. i liked the strange horror of being the only person at first who could really see the dragons, and then learning that estinien can see them too. i liked how that was the segue for his sacrifice. having those "final" moments with a specific scion each time until that climactic moment that pushes the group forward i really liked. i liked that thancred was no longer with them but still with them, a presence over them keeping them safe from harm. i found that very touching. but i was actually really confused while going through ultima thule becuase of how they visually shows what happens, like while the swirling vortex each scion would stand in was cool, and then standing to face off against that dark bird, i think what those things actually represented i just did not really understand what was actually being done or going on. i think that might be because dynamis suffers a bit from being just too nebulous or underdeveloped. i don't mind how abstract of a concept it is, i mean aether is used to do all sorts of never-explained things all the time.. it's more like... if ultima thule is going to be a place ruled by emotions, with laws different from what the scions are used to, it's hard for me to see how they were able to really draw any conclusions about where they were or what to do. it actually kind of reminded me of the logic of jojo's bizarre adventure where an attack only overrules another attack not becuase of some fundamental power scale the reader understands, but bc of what araki feels like contriving to get the story moving the way he wants. and that's fine because it's jojo. but this is ffxiv, so in my mind ultima thule should have either remained abstract and they don't try to explain the rules of the place so much, or they should’ve just made what was going on less abstract if they were going to try to logic the place out

what i mean is: the scene where estinien argues with that dragon so that he can overcome its despair is really cool. i liked that he turned into a cool wind. i liked that your friends sacrificed themselves for the sake of their home, that the power of their hopes for wol to overcome this final challenge was the only way they could move forward in such a stagnant place, as well as the only way they could be protected by meteion's violence. but after estinien does it--and he admits that he doesn't know how, just that it was the right thing to do--it feels like the writing immediately tries to specify what's going on so that there's some easy way forward the scions just have to follow the rulebook for, so that they can get to meteion. when urianger takes wol and g'raha aside i was actually just so lost. i don't know what it was i wasn't getting. i still don't. like to kind of say that there’s always one "individual" in these fake worlds who is despairing more than the others that can be located if they just identify a certain set of behaviours... this kind of just waters down what the scions are doing and the magic of being at the universe's end or w/e to me. we use language because of our inability otherwise to really express the depth of emotions and sensations that exist in this world, not the other way around--trying to box in something so complex through things like processes and so on...so to try and narrow down this part kind of rung a bit hollow to me. it was somehow both overexplained and underexplained at the same time. this might seem kind of nitpicky but i guess it was just hard for me to enjoy ultima thule when i was genuinely confused almost the whole way throughout. and bc the ea and the omicrons were so goddamn annoying. trying to do this slapdash learning about their societies at the very end of the game was just like...? okay? why bother, all they really care about is dying anyways. and then that final dungeon, ew's final attempt at replicating the wins of shadowbringers (the amaurot dungeon) with meteion's voice over. like who cares now meteion, you are somehow still just repeating yourself. endwalker is almost at it's end girl, i get it. everyone wants to die.

where i actually started to get annoyed though was where y'shtola says in no uncertain terms not to use the retcon crystal hydaelyn gave you to call their spirits back. y'shtola, you shouldn't have bothered, because you know wol is going to do absolutely that. why even have her say it? there is no sense of risk whatsoever because that crystal is involved. i still liked the sacrificing, but maybe they should have framed it in a way where it wasn't obvious that the scions were going to be totally fine. ew literally didn't seem ballsy enough to kill all of the scions, and i don't think it should've either. but then it just makes this all very wishy-washy. and even worse was when wol used it to summon HYTHLODAEUS AND EMET-SELCH!!!!!!!!!!!!!!!!!!!!!! WHY!!!!!!!! WHYYYYYYYYYYYY?????????????? i was so annoyed. i'm still annoyed. back when their memories got wiped hythlodaeus was like oh yeah by the way emet did you know that in the aetherial sea you can get your memories back haha? and i was like okay cool so when they die they can get their memories back, whatever, still don't think me and emet-selch should've been live love laughing on elpis. i didn’t actually think this game would be so juvenile as to let you get to meet them once more with their memories fully intact. i don't know why ew has to dot every i and cross every t and sign off every single bit of intrigue with the biggest fucking full stop The End ever where emet-selch is concerned, holy fuck man. i hated this decision so much. your friends SACRIFICE THEMSELVES so that WOL can face meteion. they believe that at the very end of everything, hydaelyn believes that at the very end of everything, WOL is the one who can defeat meteion. they all put so much faith in you. and the first thing you do is summon emet-selch and hythlodaeus because what? because you just can't fucking help yourself? just shit all over the importance of carrying your friends’ beliefs in you. christ i hated that. i loved seeing the elpis flowers grow all over that fake sun. why couldn't that have been wol who grew them, wol's turn to use dynamis to overcome meteion's despair, flowers that represent the hopes every single person on earth has placed in them to see their star to safety? why? emet-selch there for what? to set in stone his position as the Tsundere once and for all? is that it? to have him renew his vows to wol for the millionth time just in case you forgot that he wants you to take up the mantle of their future? i wish they would go back to never making emet-selch palatable and less hostile to the warrior of light, it feels like such a disservice to the character he was in shadowbringers and to just their characters in general like i do not want to be canon friends with emet-selch! it's not necessary! it's fucking emet-selch! what's even worse is that for some reason while the flowers are growing, emet-selch is just point blank explaining what's going on. he literally says something like, "these flowers are the hopes of everyone meteion you're washed. by the way, if you didn't catch that, wol. you can summon your friends back now." immersion gone. any sense of playing a game that actually gives a fuck gone. so we call our friends back, only to send them away again with the teleporter because meteion is just too strong for us. to be fair i liked that decision, but why fake me out a second time having me think yes, finally wol is going to face meteion ON HER OWN. and then have ZENOS show up? i actually just stopped playing and went to bed. genuinelly just fuck me. who fucking cares anymore.

and then after you finally get meteion to stop being emo and she offers to reconcile with you by sending you safely back to your friends it's like, actually i can't even accept this meteoin. because i have to go fight zenos now. and then it's crazy to me that after you kick zenos' ass for like the millionth time, we're literally on the edge of the world so i'm finally expecting him to say something worth listening to, he opens his mouth and says "you know, wol, this whole time... i've been so bored... and the only thing that gives me joy is fighting you...” like. stuck record. the writers dragged him all the way out here to be a stuck fucking record

i like endwalker btw. kind of. like i know nobody who reads this is going to believe me but i really do. if it had just, well. i don't even know. there's too much wrong with it. it wastes too much time and just doesn't seem to be able to let go. how is it possible that an expansion can make me tired of callbacks to haurchefant being important to wol? i've never felt that before. like how many more flashbacks to his grave does one need to have to know that when wol is fighting for their world they're fighting for their friends too. but this game just cannot let things go. it NEEDS to make that joke about alphinaud gathering firewood four more times. it makes anything i appreciated the second or maybe even the third time just upset me. they can't let anything go, they have to wave it in front of me like it's a dog treat and i'm a dog. a fucking dog with blonde hair and blue eyes

[not-poignant]

Worldbuilding and Writing Fiction are two separate skills.

Someone reblogged one of my shitposts yesterday (the one about intimidating myself out of worldbuilding) expressing confusion in the tags about how anyone could be intimidated out of writing through worldbuilding too much.

This was kind of baffling to me, because I think I've seen it 50-60 times now, especially with new, ambitious writers who are starting off with deep fantasy or science fiction projects. When you talk to them, they've often sunk months or even years of worldbuilding into the project, but when you ask how far they've come on the fiction side of things, they usually have writer's block, haven't started writing the story, or say they're not ready yet. 'I'm starting soon' is a common refrain. 'I just have a little bit more left to do.'

The main reason for this - I feel - is that worldbuilding and writing are two different skills. Someone who spends 5 years worldbuilding has learned how to get really good at worldbuilding, but that doesn't mean anything about how good their writing will be. Many folks think worldbuilding will automatically make a story better, but sometimes worldbuilding can become unwieldy and stressful, especially in the case of a) entirely new worlds / secondary world fantasy, or b) complex worldbuilding. Definitely not talking about contemporary romance here, lol. (Though no shade to that, I've had a lot of fun worldbuilding for those stories too).

Going from worldbuilding to writing is launching into an entirely new space. If you find writing new stories easy, that won't be a problem for you, in fact you may not even have realised they're too different skills before now.

If you find writing new stories intimidating, sometimes having hundreds or thousands of things about your world to try and constantly remember can feel overwhelming and mess with the executive function needed to start a chapter.

In some cases, worldbuilding can make it much easier to start a story. But it really depends on what you're needing to do. If you're just writing a contemporary story where you need to research two characters and two jobs, you're generally going to be just fine.

If on the other hand, you have the equivalent of a 500 page Wiki behind-the-scenes, it can feel overwhelming very quickly.

New writers fall into this trap the most, I feel. They become accustomed to what worldbuilding feels like, and they hedge on writing the actual fiction, because they just have more experience worldbuilding and keep waiting for their confidence in worldbuilding to become 'confidence in starting the story.' It doesn't work that way. They're different skills.

They might even be better at worldbuilding than writing! But that just means - if they really want to be a writer - that writing is the skill they really need to work on the most. That can be a comfort zone issue too. It can also be a 'only about 5-10% of all this work will ever appear in the story' issue, where folks want to share the worldbuilding more than the characters or plot, and therefore are just not inspired to work on their story. It can be a 'I want this story to be as good as my worldbuilding' issue. It can be a 'I find the worldbuilding part easy' issue. There are lots of reasons people stall out in worldbuilding and then feel intimidated to write the actual story.

This can also happen with established writers who become aware that the more they know about their world, the more they don't know about their world. It can start to feel like - if you write 10 articles for yourself, you end up with 100 more to write. If you write those 100 articles, you have another 300 to write. Worldbuilding never ends. Worldbuilding can be endless, and if you're an immersive writer, you can get lost very easily in the details, or in not knowing what details are critical and what details aren't. (A hint here is that you'll figure that out really fast when you start writing).

Stalling in worldbuilding can be a lot of things, it can tell you that there's something broken in the world, something broken in the story, it can tell you more about your insecurities, it can tell you how good you are at one skill and where you might need practice in another. It's super informative!

But, generally speaking, the advice I tend to give to many new writers is to try not to let your worldbuilding period last too long. Ideally, put a timer on it and see how it feels to start writing your story once the timer has gone off (3 months, 6 months, 3 weeks, put it in your phone or in your calendar, and start the first chapter, or some random scene, once that time is up).

If, after that period of time lapses, you still aren't ready to start your story, something bigger might be going on. It's an opportunity to dig deeper into the situation. And sometimes just ask yourself if you're using the idea of a novel as an excuse to do what you love most: Worldbuilding. If that's the case, there are other jobs you can parlay a solid worldbuilding ability into. It doesn't have to lead to novels. :)

But yeah it's super super common for many writers to stall out between worldbuilding and writing, and to feel overwhelmed by their own worldbuilding.

New writers get affected by it the most based on observation and hanging around writing forums, and the advice that gets asked quite often specifically on 'when do I go from worldbuilding to writing the story,' but established writers experience it too, because as Gene Wolfe once said to Neil Gaiman: "You never learn how to write a novel, Neil. You just learn how to write the novel you are on."

[chodzacaparodia]

I have more thoughts on bllk and Isagi soo It was cool in the start because Isagi was like one of the worst players and we could see how he evolves and that was interesting and weren't boring hearing his inner monologues I guess? And the others all seemed impressive from his perspective lmao But now he acts like a main boss of something and a prodigy who has lots of skills and actually acts a bit rude towards others? (here comes the personal taste that one can just not like his personality I guess) but he like turned to a prodigy whom he admired and win against in the first half and now those are the ones trying to beat him but Isagi is the main characters so kinda these evolve around him which is unfortunate for the ones who don't like his character Soo I kinda mean that we could try to bring back Isagi not being too good? and now he could actually lose (like he can I guess bc he already win a lot and evolved so it's not like it'd be over just for him to get less op and the others could catch up too, because the power scales and balanced really shifted from him needing to beat someone to others needing to beat him which is quite an interesting development of events and a lot has a more tragic past than him now give them a win pls (this is just some personal thoughts I came up with they might not be full correct so my apologise)

Thank you so much for sharing your thoughts!

I understand your point of view because in many respects I agree. I admit that it was interesting that he started to develop from an average player into one of the best. His internal monologues were also completely different, because not only did he surprise others, but he was also often surprised himself when he noticed complete things and analyzed them.

I like that you wrote that Isagi turned out to be a prodigy. Because that's the truth. He was a prodigy from the beginning, but before Blue Lock he never had the opportunity to discover it. It's not that I don't think he hasn't developed as a result of hard work and training, but his greatest strengths are actually related to his way of thinking and his special ability to analyze, something that not every character is gifted with and is unlikely to practice because it happens rather automatically.

As the story progressed, Isagi actually became overconfident. (Yeah, totally like a main boss!) And that's why he actually started to think that he was better than others (actually I did a meme about it ). And I must admit that it irritates me a bit. Surprisingly, this didn't irritate me with characters like Barou or Rin. Maybe it's because we get to know them as characters who feel better than others. And Isagi went from a guy with low self-esteem to a guy with a bit of a God complex. From extreme to extreme.

And in fact, he behaves rudely towards others. It seems even more visible because he was a really nice guy from the very beginning! But honestly, I think it's not just a matter of him feeling better than others (but I think that's largely the case). Isagi blended in with the Blue Lock's atmosphere. He was constantly exposed to people who treated others in the same way (including Isagi), so I'm not surprised that such behavior influenced him and he adopted it as well.

(And it must be really irritating when someone you don't like makes you grow. Typical bllk experience).

Honestly, I wish he would lose and humble himself a bit. I want absolute destruction. After all, the higher a person rises, the more painful the fall. And logically, sooner or later Isagi has to lose, because you can't always win. However, I'm not sure Isagi can return to that level as before (I'm not talking about the level from the very beginning, because he will never return to this times, but maybe more to the level from the 3rd or even 2nd selection). He's gone too far with all this. After his defeat, he would definitely go through a worse time, but would he actually become more humble? Would he have completely despaired of his abilities? Would he feel inferior to someone else? It's possible, but I think it's more likely that it will be just an episode rather than a longer streak of self-doubt. This will be seen from the outside more as "His rival was better" than "Isagi wasn't good enough".

But deep down, I really want the character I like more than Isagi to win. I admit that I often let my thoughts go in the direction of "this character has a traumatic past, he deserves to win as compensation". But in my head there is always the thought that Blue Lock was a manga unlike any other from the very beginning. Such issues really don't matter there. On the field, no one cares about the characters' traumatic pasts. All that matters is being the best and striving for a goal without any scruples or moral compass. And as interesting as it was (I would REALLY like to see it), even though the other characters theoretically deserved their victory more. A character doesn't have to have a tragic backstory (like Isagi) to win. They just has to be the best.

(I'm sorry if this wasn't the answer you were expecting! I didn't know how to respond to this and I thought for a long time, but in the end I let the discussion carry me away and referred to some of your thoughts and added my own, not necessarily related to your statement. I really don't know what and why I wrote all this 🙈).

[natureismynature]

What is idwtkoh?? Tell me your propaganda

Oh my fucking god anon hello and THANK YOU for giving me the opportunity to talk about THE most amazing webtoon I have ever laid my eyes upon. Get ready cuz I'm gonna be insufferable-

OKAY. So, 'I don't want this kind of hero' is a Korean webtoon (manhwa) made by Samchon. It became popular in 2010 and the english translation ended in 2020. It has 290 chapters when I say every single chapter is top tier, I MEAN IT.

First of all, the artsyle is SO GOOD. It's so fucking charming and so BADASS when it wants to be, a perfect balance. Idfk why some people get turned off by the artstyle?? Like???

This is the first ever panel and it already looks SO GOOD WDYM. And the character designs??? THE CHARACTER DESIGNS OH MY GOD. You can take one look at any character in this series and you'll have the basics of their personality just like THAT. It's so obvious but subtle at the same time??? I can't explain. Just- the character designs are AMAZING. I want to post every single character in the series just to prove my point but that'll be overkill, take this group photo instead-

SPEAKING ABOUT THE CHARACTERS.

The characters in this are all SO GOOD. And I'm not even being biased about it I swear- I mean, I don't like main characters often, in fact, I can count in two hands the number of main characters I actually like from ALL the stuff I've watched over the years, and Naga is in that list. Naga is the main character of the series and that boy owns my HEART. He's the most powerful person in the world, he goes through a lot of shit, he canonically has depression, he had so many opportunities to take a life and get away with it because it would have been JUSTIFIED, but he still finds it in him to be the kindest person out there. He can be selfish, he can be childish, and he is unapologetically FLAWED in more ways than one, he messes up and sees the world for what it is, but he learns and he grows but he will never be perfect and that's what makes me love him.

And it's not just Naga who's amazingly written. ALL the characters are unique and complex in their own ways. I can go through every single one of them, from the heroes to the villains to the people caught in the crossfire- I can make ESSAYS for everyone. Why they act the way they do, why they did the things they did, how the circumstances that they went through made them who they are. The dynamics between the characters themselves are so amazingly done as well, it's so origanic, in a way.

Oh my god if you love women, you'll LOVE this series because lemme tell you, the women in this are amazing. 100/10 would recommend. They're not sexualized in any way, they get as much character development AND exploration just as much as the men do and no one is there to purpose as the mc's love interest. The ladies as fuckin BADASS and cool and beautiful and the villains!!! HOLY SHIT THE VILLAINS LADIES. They are so evil and flawed and I adore them so much- the hero ladies too AUGH- (makes sense cuz the author is a woman)

But yeah, I talk about heroes and villains a lot bc this is a story about heroes and villains and a world with powers and animal hybrids and mythical creatures-

AND THE STORY. THE FUCKING STORY. IT'S SO GOOD.

I won't go into details because that'd be spoilers in case you wanna read it (PLEASE READ IT ITS SO GOOD) but I can tell you this much- it's a perfect balance between humor and action and tragedy. It starts of light and funny, but the story gets a darker edge as time goes on, I know that's a deal breaker for a lot of people, but it's actually done in a way that makes so much sense that you realize in your second read that it's ALWAYS been a much darker story. The cruelty of the world has always been there, the racism, the unforgiving circumstances, the perversion of the world, the pain and the grief and the misery- it's always been there.

Only, we were seeing the world through Naga's young and naive perspective. He was new to the world of heroism, he's just a kid that didn't know any better. He was never arrogant about his powers, he never bragged about it, didn't even want the attention it brought him, but he unknowingly got too confident in his abilities to keep him sheltered. As time went on and as more fucked up shit he goes through, he sees more, understands more, and suddenly everything's too dark because that's ALL he sees now.

The story shows us how the world is not black and white but instead a multitude of the shades of gray. And it doesn't shy away from exploring those shades. It DIGS into those shades of gray, makes you question the justice of a character's actions, makes you wonder if things would have gone differently if this or that happened instead. Even goes deep into the psychology of the characters, both heroes and villains alike.

And the main villain? OH THE MAIN VILLAIN. Baekmorae is SUCH a top tier villain. I HATE HIM. I hate how much I love him. He's so- he's insane. He's crazy. He's unhinged. I want to put him in a blender, turn his bones into powder and feed him to the fishes. He's so well written it HURTS.

Oh and this series gets dark. Like DARK dark. It's like if you mix One Piece, BNHA, Mob Psycho, and Saiki K together, you get this. And if you know me, you know I ADORE all four of those, so this series owns my entire being-

Augh, as much as I want to keep going, this is getting longer than I expected it to be. Well, that's a lie, I wanted it to be longer but I also want you to read the entirety of my propaganda and having this stretch out longer might turn you off so I'll stop here kfvekdvs if you want to know more PLEASE don't hesitate to slide into my inbox I'll be so freaking happy to talk about this more <3

TLDR: idwtkoh is freaking amazing from start to finish you should go read it it's amazing, BYE!

[lillified]

is there a name for the fan continuity you’re making? (ie transformers earthspark, transformers prime something like that) also you probably get tons of people telling you this constantly but i really like how you portray megastar in your work, they are so messy and i love it, it’s fresh and new compared to. well. tfp and idw as the main offenders cough cough

anyways also want you to know you’re super cool and i love your artstyle its like the feeling of running your hands on smooth metal if that makes sense

hi!! tbh im not sure if ive ever properly said it, but the working title is The Decepticons! might be subject to change, but it works for now lol

as for the art style thing--I'm glad you mentioned it, because that is kind of what I'm going for! I love the blocky and geometric angles of things like gundams, but the thing that got me interested in robots was transformers prime, and I'll always be a fan of the sleek, modern, and organic appearance of the characters in that... I wanted to bring those together for my own art, because I think both of those are true to the spirit of TF :)

as for your second point--you should know that i will never pass up an opportunity to talk about my thoughts on writing and characterization and stuff, so forgive me preemptively for the long post, lol

thank you for the kind words! I agree that there are a lot of issues with how certain characters have been portrayed... while the comics were great for fleshing out certain classic characters, they also seriously flattened many others. These characters have decades and series long histories of exploration and experimentation that feels like it's been completely restricted to one of only a few avenues lately, and that bothers me a little bit. like, when was the last time we've seen a piece of transformers media where they have inventive takes on character relationships in the same way as Animated? what's the point of rebooting and refreshing if nothing new happens??

Megatron and Starscream are a great indicator of that for me--their relationship in G1 is bombastic, but also complicated and interesting. they're the most important decepticons by far and their characteristics are integral to the functioning and philosophy of the entire group, to the point that, for example, removing Starscream from the equation of the Decepticons, I'd argue, makes Megatron an entirely different character. They're necessary to eachother, but it really feels like (with very few exceptions) their relationship has only gotten flatter and flatter over time. Even Prime, which I'd argue has the most textually interesting and deep take on their relationship, is, very obviously, held back by an overture of cheap, aesthetic violence. I firmly believe you could rewrite TFP without any of the violence and none of the character arcs would have to change at all, because, at the end of the day, it's purely superficial--it has nothing to say, and exists only as a way to bolster Megatron's dominant image, and to satisfy the audience's assumed disdain for Starscream.

while obviously it is transformers, and nobody is required to think that deeply about it, I'm a dork and it's always bothered me specifically, because, outside of that, there IS a lot of complexity to the stuff that happens!! I like this series specifically because there is so much variation and so many perspectives that have touched this franchise, and, in the best cases, we get the underlying character arc in Prime, where Megatron and Starscream's relationship is a case of two people who respect eachother more than anyone else and can't quite find equal footing about it.

going the IDW route and turning their interactions into constant hostility is the easy way out because it adds the aesthetic of "maturity" via shock value without having anything to say; however, the actual most thoughtful variations on the characters can communicate that both of them are inherently flawed without any of that, and that's what I want to do. this is my writing exercise, in essence... I'm not trying to make the decepticons "good" and just show them frolicking about all the time, I'm trying to make a properly "adult" spin on the formula that actually treats the audience like adults instead of trying to shock them. I'm a nerd about this already so I'm not going to shy away from the intense relationship these characters have because it's too complicated and messily homoerotic to unpack. if I've got the liberty to, why not?

anyway. thanks for reading once again! i can never make these short and succinct haha. i feel like i repeat myself all the time but also I never run out of things to say about them. as always, I'm really grateful that other people are interested in these things--I know none of it is really super important and it's probably something only I ever think about, but I feel like I owe it to the people who have contributed their perspectives and artistic ability to this thing to care at least a little, lol.

[certifieduruihater]

really wish the 12 series didnt have raph bring out the splinter's favorite line. they were so close to not doing it. so close to not slapping that on as the reason for raph being raph.

but they did it. and it lowkey still doesnt make any sense? not once in the show were there ever any hints of this being an issue. not once was it ever hinted as something that bugged raph. i think this could have worked, but it needed to have some sort of precedent, and it didnt. this leaves the statement kind of feeling like it came out of left field.

i always got the impression that raph's anger came from other sources. like being cooped up with your brothers for 15 years and not being able to go outside for fear of being hunted down like an animal. no way to release pent up aggression. and when it comes to leo, the first few seasons made it seem like raph's anger was due to his perceived shift in power dynamics. for 15 years he was on equal footing with his brother, and in the span of a day, suddenly he's the leader? maybe raph always did feel some sort of rivalry towards his brother, maybe he was jealous of leo to some degree for his skills/some other reason like that, and these feelings were exacerbated when leo became the leader. but to say raph was actually always jealous of leo because "he was always splinter's favorite?" huh? where did that come from? when was this established? either way for it to work i feel like this should have been brought up before.

and you could chalk it up to raph perceiving leo to be splinter's favorite, and this not actually being the case, but i dont think the series ever explores raphs feelings any deeper than this so idk. and then once again, you'd probably have to establish this earlier if this were to be the case. season 4, which is basically the last season of the main story, should not be the first time we're hearing about this major aspect of raph's character. is it ever even mentioned again??

and honestly, i think slapping this on as the reason for raphs issues is kind of boring at this point. its been done before in so many other characters in other stories. boo. give me something else. youre telling me yall cant look any deeper into raphs character than this, that you have to give a surface level reason? it feels like a cop out to just blame splinter. but hey, if you guys really want someone to blame, SHREDDER IS RIGHT THERE. maybe if they didn't have to live in fear of getting killed their whole lives things would have been different.

i guess im also just bothered by this because now it gives fuel to the "abusive parent splinter" fans who have this weird agenda of completely rewriting splinter's character to be a terrible parent and then blaming all of the boys' issues on him

also, why muddy raph and leo's relationship even more? honestly to me their relationship already started getting muddier by season 2 due to weird writing decisions, but overall i really liked how they genuinely seemed to be good friends and have a close bond with each other. i got the vibe that they liked hanging out with each other in their spare time, and that most of the time they did get along (just look at the amount of times they're just casually hanging out in the background/sparring in their free time/in the same room). it's just that whenever an episode focuses on them, they tended have some sort of conflict due to the nature of an episode, i guess. but when you introduce this to their dynamic it just feels weird. like i guess having this added to their dynamic doesn't have to negate their friendship, but it adds another layer of complexity that the writers just didn't seem to be willing to face/deal with properly

[moviemunchies]

I finally got around to seeing this movie! Hurrah!

This movie has a similar Plot to 10,000 B.C.? It's better, though.

Centuries after apes began to talk, and Caesar’s death, apes are the dominant civilization on Earth, and as far as apes know, humans are all dumb animals at this point. Noa is a chimpanzee of the Eagle Clan, a tribe of chimps that train eagles as their way of life. After a chance encounter with a human, raiders of a rival tribe pillage the Eagle Clan and carry them off to Proximus in the name of Caesar, with Noa as the only one to escape. Proximus has been violently assimilating surrounding clans to build a kingdom and break into a vault from before the downfall of humanity. Noa goes on a quest to follow Proximus’s forces and free his people.

I am always surprised by how good these movies are? I haven’t seen the original Planet of the Apes, and I don’t have much motivation to–other than maybe to finally see the source of all those quotes that people won’t stop repeating in different media.

[Every. Single. Time. Someone faces an ape and says some variation of, “Get your hands off of her, you damn dirty ape!”. In case you were curious. It’s alarmingly common in fiction.]

Anyhow, we had no reason to expect that the revival with Rise of the Planet of the Apes was going to be good, and yet every single movie afterward has turned out to be an excellent film. They’re not fun popcorn flicks, in the same way as a Star Wars film, but they’re good, with complex, interesting characters and nuanced conflicts.

Which is darn impressive! There’s an idea out there that we, the audience, cannot get invested in or tell complicated stories about characters who aren’t human (think about how many science-fiction stories have settings with tons of alien races, and the main characters are all human anyway), and that’s obviously not true. These Planet of the Apes films tell stories where not only are the protagonists mostly not human, but many times the humans are the antagonists to our heroes.

And I appreciate that, unlike Dawn of the Planet of the Apes (a movie that I still like very much!), the Plot can’t be reduced down to a pile of situations that went “Things could have been okay if everyone chilled, but then there’s this douchebag screwing everything up.”

So I like Noa! I like his supporting cast! I like the idea that different ape communities evolve with different niches that they fill, and have different ideas about the past. It’s fascinating and frustrating in all the right ways when we learn that they don’t know anything about Caesar, and then the one guy who does know about Caesar doesn’t actually know that much about the past.

I think the Eagle Clan needs a bit more development, and I’m a little baffled about how these people make and build things. The apes don’t wear clothes, for instance? But they have blankets? I suppose it’s not strange that they build mostly out of wood, but are all their tools made of wood? I think this is a worldbuilding issue, though, and I wonder if later movies would theoretically go there and show off more how apes build their civilization.

There’s only one main human in this film,  Mae, and spoiler alert! There’s more going on to her than Noa thinks at first. Which isn’t much of a spoiler, because there are trailers that spoiled that reveal, though the extent of her complexity is still obscured for the movie itself. I found her a fascinating character, and I’m wondering if she’ll be coming back if they do another movie in the future.

Speaking of the future: what is this building towards? There are things in the film that hint at something in the future, and I wonder if it’s meant to be call-forwards to the original film, or if the plan is to do something different. Will they remake the original story, with the events of this revival/reboot movie series in mind? Because there are some key differences in the shape of the world here. Or will they keep teasing it forever and ever, while telling original stories?

I don’t know. I’m curious to find out, though.

It’s a good movie, and I think if you want to see this sort of story, a science-fiction story about humanity that also has a cast made up of mostly non-humans, this is a good movie. If you’re invested in the world after the last three movies, or the original storyline, then you should check it out. I think it’s a pretty good movie, and it has some excellent moments, though it’s not a happy action flick to watch casually.

[guriyuri]

School Zone/「スクールゾーン」

🌸9/10🌸 (HIATUS)

A quirky yuri comedy about the chaotic daily life of high school girls! Yokoe and Sugiura have been together forever, and they've mastered the art of making trouble when life's a bore. High school might be a drag, but these girls in love know just how to inject a little chaos and comedy into their sloppy school life.

(Seven Seas Entertainment)

*occasionally listed as ‘School Zone Girls’

I fuckin LOVED school zone, man. There isn't a single character in it that isn't eeping out of their minds at all times. It throws almost all normal shonen/male-targeted troupes off of their kilter and is incredibly refreshing to read. One of its best qualities is its ability to maintain its identity outside of being a queer story- providing commentary on a wide range of topics relevant to high school, youth, etc. I can't really describe the effect of finally being able to read girls just being fucking stupid- other than saying its like running your brain under cold tap water, if your brain was a lesbian yuri enthusiast with a perpetual craving for full-cream milk. As silly as it may be, I actually genuinely enjoy its approach to w/w and adolescent relationship. 2 out of the 3 arguable 'main' three couples have one partner that is gender nonconforming/visibly queer, a rarity for contemporary yuri as a lot of works- to no fault of their own- fall into pitfalls of exclusively drawing hyper-feminine women to try present itself more believably or because it has no other way of proving to you that the characters are girls. The negative of this being that ostracises an entire group of people within the real-life lesbian community and disregards the instrumental role of butch lesbians in queer history by refusing them representation in a genre for them. Despite how I phrase this, though, I'm not exactly trying to present School Zone as a Magnum Opus or the pinnacle of political-correctness and singlehandedly defeating lesbophobia worldwide (which it did); I just cannot stress how badly we need diverse gender representation in yuri.

The main two girls are both fucking hilarious and strangely adorable in their own way (aside from being every gay couple to ever™). Their dynamic mostly consists of Yokoe being a combination of stupid, evil, and helplessly down bad and Kei being a single thread away from pulling a glock on her. If that can’t convince you to give szg a shot you’re a lost cause + I’m unplugging your life support. Anyways, they’re only one of the 3(ish) main pairings in the manga; but that’s where we get to the difficult part to talk about. Touched on some-what briefly, but too often to be able to ignore (iirc they have a handful of dedicated chapters), is Tsubaki’s incestuous crush on her sister Hiiragi. It’s kind of unfortunate this is in here and it sucks for me to have to mention but In this specific case I do think it’s worth overlooking for *so* many reasons. At its’ core their relationship is mostly focused on teenage adolescence and navigating complex familial relationships whilst still trying to grow up and find yourself. In isolation both Tsubaki and Hiiragi are very well written characters; on par with the rest of the cast and really are both very likeable. It’s when their relationship with eachother gets played up for fanservice is when they start to shit on your salad. Still, though, the author pretty clearly has no intention of actually writing them ending up together/Hiiragi reciprocating. So it’s highly likely Tsubaki’s character arc will lead her to move on, especially considering how she’s developed thus far. Last Couple worth discussing seriously is Fuji and Kishiya-san. While I was reading I was under the impression that Fuji + rest were high-school aged and Kishiya was in her first year at uni, but the only source I can find that lists their age says that Kishiya is a first-year high school student; which must make everybody else be in secondary school. Either way though, the age gap between them remains roughly the same and doesn’t really change my hot take on these two. Out of the entire cast Fuji is definitely the truest depiction of the experience of growing up sapphic, unknowingly. She is also my favourite :-). It was also refreshing to read about a girl who hasn’t figured it all out and is just kind of weird and off putting instead of elegant and tragic like the atmosphere of traditional yuri + made me feel weirdly heard? Call me biased, or a victim of grooming ALL you want but looking up to someone maturer, more in control, someone who feels above it all is someone you tend to gravitate towards when you’ve felt helpless and inept at understanding yourself your entire life. Much like Tsubaki and Hiiragi, Kishiya-san has yet to show any indication of reciprocating or even knowing of Fuji’s feelings and is what I think a genuinely positive influence on her. I can also imagine Kishiya-san fighting on the mental FRONTLINES to stay as patient and kind to Fuji as she is, aswell as taking the time to talk to her and treating her like a friend. Everyone please take a moment to acknowledge her service in the troubled youth industry.

There’s also Yatsude and Kaname but they’re pretty interesting so I’ll let you develop your thoughts independently on those two. They also have ZERO buisness being the most beautiful fucking women alive. The things I’d let Kaname do to me are to be repented for.

[veebs-hates-video-games]

Let's see if I can sort out what to say about Fire Emblem Engage yet, which might end up with a bit of commentary on other games in the series, which I guess is appropriate since it's basically an anniversary game. The short version is that I feel like a lot of the hate for it from The Gamers is extremely exaggerated, and even though it's not perfect it's probably my favorite Fire Emblem game at this point.

Like most people old enough to have been around at the time my main introduction to Fire Emblem was through SSBM, although in my case I didn't really care about the characters in that so much. Specifically it was the inclusion of Together We Ride in the soundtrack that got my attention. I still have an mp3 somewhere that I recorded from the game by hooking up the line out of my GameCube to the line in on my laptop.

I didn't actually play the GBA games because I never had a GBA of my own, so I started with Path of Radiance instead and have played a decent number of the games since then at least part way through. Still need to get around to Shadows of Valentia one of these days, but it'll probably be my next FE/3DS game when I do.

Up until now I'd say Awakening was my favorite of them. It was pretty satisfying mechanically without being overly complex like Fates (which was great if you really like planning everything out and min-maxing stuff, but it's all a bit much the first time through playing casually), it had a bunch of fun characters and supports, the music is frequently excellent, and the story is completely ridiculous in a fun way.

In a lot of ways Engage felt very similar to Awakening to me, which was great for me. I don't think I could convincingly argue that any other game in the series is anywhere near as fun for me in terms of gameplay. It's incredibly flexible in terms of what you can do with your units and what kinds of team compositions will work, especially on lower difficulties, but it manages to achieve that flexibility without being overly complex in an intimidating way, and a lot of the map design is excellent too.

It does a great job of encouraging you to try different things out by the way the maps are structured and enemies are placed and various different gimmicks on them and is full of moments early on that demonstrate the value of different units and abilities without directly telling you what to do. There's a lot of stuff set up in ways that don't just hand you a victory and have multiple ways to approach them, usually more than one of which makes you feel very clever for pulling something fancy off.

And the Emblem abilities that are restricted in use by being situational and on long cooldowns let them give you some truly ridiculous stuff that would be broken in any other game but feels perfect here, and it lets you do some absolutely bonkers stuff once-ish per map as a result. A lot of it gets balanced out by giving bosses multiple health bars though, which solves so many design problems and stops you from just warping a single unit there to burst them down instantly. That and sometimes having multiple bosses on the same map really forces you to use the ridiculous emblem abilities and take advantage of your whole team you've deployed a lot more often.

I know there are some people who don't love it aesthetically, and that's fine, but just on a technical level it's easily one of the best-looking games on the Switch. Seeing clips of Three Houses again after playing Engage for a while is rough. It feels like looking at a PS2 game running in an emulator, and Engage feels easily at least two full console generations ahead in terms of the tech it uses and the results they get out of it. Plus I actually love the art style too, with all the bright colors and overdesigned characters and stuff, and the combat animations are probably the best the series has ever had.

And I suppose the big thing that the most people complain about is the writing and story. You know what? They're fine. As far as I'm concerned the series has never had top tier writing (sometimes it's pretty decent like the Tellius games or Three Houses, but even those have some issues), and if that's really what I'm in the mood for I have plenty of other options for that. Just from stuff I've played this year there's been Future Redeemed, 13 Sentinels, The House in Fata Morgana, and probably some others I'm not immediately thinking of.

It's not like a story or its characters have to be super deep to be fun or interesting or serve their purpose in a piece of media either, and for me Engage managed to do that for me in the same way Awakening did. I genuinely enjoyed spending several dozen hours with a lot of the characters, and the story's a bit silly sometimes but did what it needed to to bring a bunch of random characters together and through an adventure together.

And something unprecedented for me for a Fire Emblem game (and pretty uncommon for games in general) is that I immediately wanted to play it again right after finishing. Usually I want to see more of the supports and any optional stuff I might've missed (e.g. optional recruits and stuff), but that's not enough of a motivation to play through the whole game again, especially not right away. This time though in addition to that the game mechanics are so satisfying that I wanted more of that too, especially with all the units I never really used and all the new silly build ideas I started coming up with toward the end of the game as I understood how everything worked better. I've been holding back from actually doing it yet because there's so much other stuff I'm trying to get through or finish up, but there's a pretty good chance I'll start over again at some point in the next few months, maybe after SoV and/or going back and finishing my replay of PoR I started earlier this year before getting distracted by this game.

Engage is almost definitely my favorite Fire Emblem game at this point and easily in my top five games I've played this year, probably in the top three. I think it's probably number one for gameplay, with 13 Sentinels for story and Future Redeemed for all aspects combined overall, and Unpacking is an honorable mention for general vibes.

[yurisorcerer]

That was really good!

Gosh, I have many thoughts, but I'm not sure how well I'll be able to articulate them given that I'm kind of tired at the moment.

So, my main love here is for the characters. I think people tend to sell Dungeon Meshi on its worldbuilding and I do get that (it's very complex and is quite well thought-out), but the characters are what really grabbed me. I don't think there was a single member of the main cast I didn't love. Laios is such a delightfully weird monster manual fanboy and I 100% agree with the people who say he feels neurodivergent and that this feels intentional. Senshi is awesome and it's very funny how the manga is extremely horny for him. Chilchuk brings a profound Divorced Dad energy to the cast that I think is great for bouncing off of the other characters. Izutsumi is interesting by how she contrasts with the earlier party members, I want to think about her role in the story more. I think she was kind of meant to give us an "outcast's perspective" of sorts? I think she's good at being that, but I feel like having blown through most of the manga in a few days may have hampered my appreciation of some of the more subtle aspects of her character.

Marcille, though, is my favorite; as someone who is also a really fussy eater and just kind of tightly-wound in general I found her really relatable. She's also super, super, super pretty and cute but we don't need to get into that right now. I cannot be the first person to point out how, when she becomes the dungeon lord, her behavior starts feeling extremely manic, right? I suffer from delusional episodes that include very difficult to ignore intrusive thoughts, and I thought the whole bit she went into about how being the dungeon lord feels felt very familiar in that respect, and it really hit home for me.

(On the flip side, having your desires eaten by the demon seems similar to depression. I've been there, too.)

Other stuff! I like the whole overarching theme of eating both in the literal sense and as a general metaphor for going through one's life. In the very last chapter Marcille says something to the effect of, perhaps this journey was to teach us to accept death, and I don't think that's necessarily the entirety of what the series is going for, but that's part of it definitely. There's a whole circle of life thing going on here. The manga is very....sensory? Lots of focus on taste of course but also scent and feeling. Lots of really strong imagery along those lines throughout the entirety of it.

I set the worldbuilding aside earlier but it is super neat actually, also. I still don't love the general conceits of a western-style fantasy setup, but I think this is honestly about as well as it's possible to do this material. Everyone has a motivation for their actions that feels inspired by experience and history rather than just Dwarves Do X and Elves Do Y and so on. There's a LITTLE of that, but not nearly as much as is typical for this kind of thing. In particular, I liked the orcs. Their usage as a symbol is perhaps somewhat fraught (I'm not the person to make that call either way), but it felt like it was coming from a good place and they're just treated so much better here than comparable people in other media, idk. It felt nice to me.

The art! The art is fucking gorgeous, like, if I wanted to get someone to read this manga this is one of the things I'd mention. The entire dungeon feels so wonderfully lived-in and ancient. You can practically feel the stonework in some panels. (Sidebar here! The anime is really good at capturing this, do watch the anime it's fantastic.)

Some other random stray thoughts:

-The circumstances she gets it in obviously suck, but Marcille's dungeon lord outfit honestly serves hard and everyone should get off her case about it.

-I ended up liking the captain of the Canaries a lot more than I thought I would. He's just an interesting character all around.

-I also really love Sissel / Thistle / apparently how you romanize this is a source of some contention. I feel sooooo bad for the guy. He just wanted to keep everyone safe! It's not his fault that his idea of keeping everyone safe ended up being influenced by a lion-headed demon from outside of reality and corrupted into a suffocating hellscape for those same people! OK maybe it's a little his fault

-I like the diversity in appearances across the characters. This is a thing I wish more manga did this well.

-Laios' kingly titles in the final chapter, RANKED from MOST to LEAST badass: 1. Laios of the Three Heads (based as fuck, makes people ask questions when they hear about you in a history book several centuries down the line), 2. The Demon-Eater (badass and very specific) 3. The Vegetable-Armored (basically gets the same reaction as #1, but with a more comedic lean) 4. Demon King Laios (this honestly seems pretty disingenuous but it is dope) 5. The Dragon-Slayer (very generic, also not even the most impressive part of what he did) 6. The Lord of the Dungeon (Crusader Kings 2 auto-generated-ass name) 7. Pervy Tallman (this sounds like a bad comedian)

-I want to kiss Marcille on the lips

-who said that

-haha I wouldn't mind the Canaries coming to arrest me am I right fellow lesbians

-who said that (part 2)

anyway yeah really good manga highly recommended. I'm not sure if it's a (get out the scare quotes folks) "Personal Favorite" per se, but it might become one over time. Usually such things take a bit to settle with me. The fact that I have any interest in reading it again is a good sign, though. 90% of the time when I'm done with media I'm fine with never revisiting it again. Dungeon Meshi I would very much like to revisit, both in the form of the anime that's airing right now and also I think I'd like to re-read the manga in a few years when I'm at a different place in my life to see what I think of it a little farther down the line. I liked it a lot, and I think it will stick with me.

[markersmadness]

OTP PROMPTS ೄྀ

If you're brainrotting, here are some situations & scenarios that can help with writer's block, or just are fun to imagine!

A = Typically the character struggling in angsty prompts, perhaps the stubborn person in the relationship. Usually the main focus in a 3rd person POV!

B = Typically a stoic character. May be better at hiding their feelings, or have a complex psyche especially. Usually the perspective in a 1st person POV!

[ Whatever characters you envision never have to fit these tropes, they're just a general outline as to what these prompts work best for! The roles reverse occasionally for ships with other dynamics or dynamics where both characters share the descriptors listed. You're more than welcome to use a prompt here without credit, but I'd love to see anything made based off these prompts! ]

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A comes out as [identity/sexuality]. This idea can be elaborated upon in many ways! Perhaps it makes B realize they actually have a chance, or that they don't know A as well as A knows them. Did A not have a choice? Perhaps B could be comforting A after being distraught that they had been outed. Was it a drunk confession? One that only happened after a series of very 🌈 things, and/or is very overdue? The possibilities are endless! If you're more of a hurt/no comfort person, consider if B didn't like them that way or was discriminative. Or A was murdered or hate crimed for it, bullied, etc. Think about how A would handle it, and how would B react to A's reaction?

The gold ol' sickfic in which A falls ill. A great fluff, angst, hurt/comfort or even a hurt/no comfort. Fuck it, a smut fic in some cases! Consider what reasons your character probably got sick; Overworking, laziness (not being hygienic), staying out in the rain too long, just getting sick during that time of the year, having a weak immune system, mental problems that had/have physical symptoms, was unlucky and got a chronic illness, eating habits, family genetics, perhaps even faking being sick for B's attention! Consider how B would react to this information- or if they'd even know this information about the other, and if A would tell them. Would B pick up on the clues, or be oblivious to the other's sickness? How would B care for them? Would B be more soft, or be angry with them for getting sick? What stage of their relationship are they in? If you struggle to write a sick character, I suggest scrolling through the sickfic tag!

Note: While most sickfics show a dynamic where B is a caretaker and only listening and tending to A, there are lots of other possibilities! B could get into an argument with A because A refuses to rest, or argue because B doesn't know how to explain that they're in love with A and that's why it's important to them that A is happy and healthy without confessing. A could feel burdensome and force themself to get better (which could backfire), or B could be absolute dogshit at caretaking (babe I made you soup but I burnt the everything) (shit this ice pack is warm as fuck) (I'm sorry dude I fucked up your assignments while you were resting), etc.

Jealousy. While it's a overused trope, it is still a good one! Typically portrayed as B being protective over A, I find it is more fun to write when both are jealous for each other. Or when the jealous character hasn't come to terms with their feelings ("I'm not in love but when my "friend" flirts with someone else I feel really mad for no reason at all hahaha what"). Did A make B jealous on purpose, or by mistake? Maybe A is the emotional hotheaded one, or the jokester, whilst B is more reclusive and gentle, making their uncharacteristic anger (read; jealous) that much more evident. Or it could be A whose jealous, as B is simply chilling and talking to someone, and now it isn't a joke when A comments that "don't get too friendly I might get jealous!" They could also be rivals if you like ETL, making their jealousy even more confusing for them because why would I ever feel jealous about them..?! That's so weird whattt...

Jealousy is used a lot in every aspect of fanfiction. I find it best enjoyed as angst, but wholesome reassurance fluff is also a huge fan favorite of a lot of people I know- ("I only like you, so don't worry", etc.) Smut, of course, plays on jealousy as well. But make sure to keep in mind jealousy isn't the same as possessiveness! Protective characters can be more prone to jealousy, using B as an example, who wants to protect their loved ones, but then why does it hurt when someone is protecting A, and it isn't them? Humor is also used in jealousy, as watching a character slowly get hotheaded or act stupidly or comedically from their jealousy is also fun to read. Do consider when writing (if you want to!) if B comes off as overbearing or jealous, or both? Write them the way you want them to come off, as readers can feel uncomfortable if possessiveness or other toxic traits are passed off as jealousy. And it's also interesting to read about a character who thinks it's just jealousy! However, make sure to properly tag your works if on ao3, or add TWs on other platforms so they know what they're reading :)

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That's all I have right now! If this gets a lot of likes or if anyone wants more tropes / ideas like this I'd be happy to make a part 2. I've been brainrotting so much I've run through these scenarios like 30 times over, so I'm making this guide for myself as well so I can stop repeating the same fanfic in my head (>_<)

[thesovereignsring-if]

Elizabeth Olsen, Serena Williams, Jennifer Lawrence, Celine Dion, Zendaya, Michael Jordan, and Robin Williams might remind you that younger children can have huge potential for success! I totally get that MC has been denied opportunities and sheltered so they start out on the back foot. But to be honest I’m not interested in playing as someone whose background is only used as a simple pass/fail and will give no flavor text. To be blunt I don’t want to perpetually play as the most useless person in the room. I think it’s a cool concept to have others actions/reputations hang over the MC, but I don’t want my MCs actions to have no consequence. Even if it’s just a MC who was super friendly to everyone and the party privately feeling frustrated when a noble is cold to them or being eh if they are more aloof. I’m not trying to say that eldest kids or middle children aren’t successful; anyone can be successful if they have the willpower and luck.

— a probably overly triggered youngest sibling who carries their fam

Hi anon.

You come across as a little combative in this ask, at least in my point of view, so forgive me if that is not the case, but it will colour the tone of my response.

If this is your way of telling me your expectations of the game, then I do not appreciate your phrasing and the tone of writing in doing so. In the future, I would prefer something more gentler or polite. Had not included your last line about being triggered and perhaps are acting emotionally, I would have deleted and ignored it completely. You are allowed to be honest and blunt, I welcome it, but your writing prose in this instance makes you sound aggressive, rude and accusatory and I do not like that.

Now onto what I think are your concerns:

The whole point of the game is that main character's agency allows for the change in the Empire. The MC's choices are important and they are game changing and consequential. I promised that on the game's very first post. I would not have made it an IF if that were not the case. It would take less effort to write a book.

There is no doubt that younger siblings can be successful. If I did not believe that, then I would not have made the MC the youngest child who can ascend the throne despite all the cards stacked against them.

In the original ask that I was responding too was in regards to any established preconceptions of the MC as of Chapter 1. I never said that being the youngest meant they could not rise above their siblings. I decided that considering the circumstances of their station or birth and past family history, there are preconceptions about the MC that will eclipse who the MC actually is as a person. And that preconception colours the MC's reputation to the rest of the world.

Birth order does not beget success. But using your example above, I can also say that some of those people are successful because of the efforts/privileges of the people that came before them. That they were born in better socio-economic circumstances than others, that their parents made the right connections/knew the right people, that they were born into the right family, the right coloured race, so on and so forth. Some of it might be true, some of it might not. But that doesn't matter if I believe it's true. It's a preconception that I have. This is what I am talking about when I mean there are preconceptions are being held against the MC no matter what they do.

This is only Chapter 1. Everything has to start somewhere and I made the informed decision to have all MC(s) start on this controlled platform because when there are too many variables in place, things become out of hand. This story is already too complex with multiple layers of nuances that must be juggled.

If you want your MC to be independent and ascend the throne. That is a choice that I allow players to make. There will be consequences. There will always be consequences. I will punish you for being cruel. I will punish you for being kind. You cannot make everyone happy. You can only do what you think is right. You can be as selfish or selfless as you want.

But I will say this as a warning: If my response to that original ask triggered you, then you will not enjoy the beginning of Chapter 1. Prior to drafting this response, I had just finished writing a group of scenes involving a character that is more of asshole than Eirik. He will humiliate you and look down on you for things out of your control and you will not be able to respond properly because he will be right.

Have a nice day.

[myths-tournaments]

Awful Characters Round 1 Part 2 (4/8)

Propaganda under the cut!

NNOITRA GILGA

Pollrunner's note: the only propaganda I got was entirely in russian and I don't know russian so I tried my best w/ google translate. if the person who submitted would like to provide an actual translation then please do, otherwise I hope you enjoy my google translation

You can reduce the propaganda at your discretion, there is clearly too much here, but I feel very inspired))) A secondary antagonist for one arc, with a spoon design, one of those henchmen of the main villain who are supposed to be repulsive and contemptuous, can give a cool fight and then die and sink into oblivion. A typical combat-obsessed maniac whose sword weighs far more than his brain. It's not even a new concept within his own universe. At the same time, he is able to think, abstractly and often. Over the course of a dozen episodes and flashbacks, the outlook has grown from "I'm strong, so I'm going to kill everything I see" to "If I kill 1,000 weaklings, will I get stronger?" Canonically hated one of the most popular girls in the entire manga (and believe me, she is by no means as sweet and innocent as the audience thinks, she literally deliberately presses on the sore wounds in Nnoitora's pride, purposefully seeking him out), while being one of the most tolerant fighters. The truth is expressed in the form of "I don't care if it's a man, a woman, an old man, a child or an animal, I'll kill them all." Equal treatment? Think so. Is the enemy wounded after the previous fight? The ability to survive until the fight is part of the fighting skills, no discounts, no bias, no giveaways, he will fight everyone with full force. Philosopher. "Do not deceive yourselves—none of us will see redemption. We didn't have the right to forgiveness from the beginning." The only one who has questioned how one questionable stage of the main villain's plan worked, has tracked down the perpetrator of that stage and specifically dug into him to find out the complex psychological trick that was used. Moreover, such stunts are absolutely not in the style of Nnoitora's fighting, he was just interested. His relationship with the francion (a type of personal lackey) is also very interesting. And they are not at all based on "beating for the slightest disobedience", as one might think. For the three acts of "disobedience" shown, a physical blow was inflicted only when there were witnesses. Playing to the public? Their interactions have left so many questions, but we have so few answers. After all, his fración is also far from being as obedient and innocent as his fans try to make it out to be, there is definitely a double bottom hidden in the darkness. In general, the character cannot be called pleasant, by any means. But it's definitely interesting. In the vast majority of cases, the fendom plays the role of a background scarecrow, a scapegoat or a punching bag on a residual principle... Or they simply forget about it. Rare connoisseurs of this ambiguous personality sometimes create truly gems of fan art

Пропаганду можете сократить по своему усмотрению, тут явно лишнего навалено, но я чувствую очень большое воодушевление))) Второстепенный антагонист на одну арку, со стрëмным дизайном ложки, один из тех приспешников главного злодея, которые должны быть отталкивающими и презрительными, может быть дать крутой бой, а потом сдохнуть и кануть в забвение. Типичный помешанный на бое маньяк, у которого вес меча намного превышает вес мозга. Это даже не новый концепт в рамках его же вселенной. При этом уме��т мыслить, причëм абстрактно и часто. За десяток серий и флешбек показал рост мировоззрения от "я сильный, поэтому буду убивать всë, что вижу" К "если я убью 1000 слабаков, разве стану сильнее?". Канонично ненавидел одну из самых популярных девушек всей манги (и поверьте, она отнюдь не так мила и невинна, как считает аудитория, она буквально специально давит на больные раны в гордости Ннойторы, целенаправленно разыскивая его), при этом один из самых то��ерантных бойцов. Правда выражается эта толерантность в виде "мне нет разницы мужчина, женщина, старик, ребëнок или животное, я убью всех". Равное отношение? Ну да. Противник ранен после предыдущей схватки? Умение дожить до боя является частью боевых навыков, никаких скидок, никакой предвзятости, никаких поддавков, он со всеми будет драться в полную силу. Философ. "Не обманывай себя - никому из нас не видать искупления. У нас с самого начала не было права на прощение". Единственный, кто задался вопросом о том, как сработал один сомнительный этап плана главного злодея, разыскал исполнителя этого этапа и конкретно докопался до него, чтобы узнать сложный психологический трюк, который был использован. Причëм такие трюки абсолютно не в стиле боя Ннойторы, ему просто было интересно. Его отношения с фрасьоном (типа личного лакея) тоже очень интересны. И вовсе не базируются на "избить за малейшее неповиновение", как можно было бы подумать. За три показанных акта "неповиновения, физический удар произведëн был лишь тогда, когда были свидетели. Игра на публику? Их взаимодействие оставило так много вопросов, но у нас так мало ответов. Ведь его фрасьон тоже далеко не столь послушен и невинен, как стараются видеть его фанаты, там определëнно есть сокрытое во тьме двойное дно. В целом персонажа нельзя назвать приятным, ни в коем разе. Но определëнно интересный. В фендоме в подавляющем большинстве случаев играет роль фонового пугала, козла отпущения или груши для битья по остаточному принципу… Или про него просто забывают. Редкие ценители этой неоднозначной личности иногда создают действительно жемчужины фанатского искусства

AEMOND TARGARYEN

I've seen twitter (and tumblr) users call every HotD character fans bad people (because obviously everyone who doesn't support the same side as them in the show is evil) but personally Aemond is my favorite little war criminal. He's murdered a child (his nephew(14yo)) because he stabbed his eye out when they were younger (very stable family), all of that kickstarted a full on war. He's also thought about murdering his brother to become king instead. He does have drip though (replacing his missing eye with a sapphire), and he's his mom's favorite child (aka the only one who ever has an idea what's happening). And we're not that far in the show yet but he also gets a hot witch girlfriend. (Also everyone in HotD is a bad person, just pick your favorite war criminal like the rest of us)

[sawcondeez]

what are two of your favorite movies from the Saw Franchise?

what are three of your favorite traps ?

thank you!!

Fav Saw Movies!

my fav Saw movie will always be Saw (2004)! there’s just a charm to it, the grungy-ness, the fleshed out characters, the colour grading is unmatched, the premise of it is simple yet so interesting. I love a contained story! AND I LOVE ADAM !!! and most importantly you can tell through and through that it is a passion project for Leigh Whannell and James Wan. listening to the commentary and behind the scenes gives me so much joy. I love that Cary Elwes signed onto the project because he had so much faith in them and their work and I love just how much fun they had making it despite being on such a tight schedule and budget and it ended up making such an impact in the horror industry! I could go on but I’m gonna stop there lol

my second favourite would have to be either Saw III or Saw VI. for Saw III, I love that it’s kind of like a character study/character building I guess? I love having more of an insight to Amanda, I think she’s such an interesting and complex character, the whole father-daughter dynamic between her and John as well, I find very compelling. the themes about forgiveness, revenge, family, grief as well wheeeew. It’s Leigh’s last Saw film as a writer and even though they keep the franchise going after III, I think he ties everything up very well as his last entry in the franchise.

Saw VI ouuuuuu I really like how it’s a commentary on the American health system, I think it’s done pretty well. the traps allegorically worked better than I think a lot of the other traps in the franchise do. William Easton was also an interesting focus as the main test subject, and I liked watching him going through the various traps and having the whole inner battle about morality and mortality. I also love the scene when Hoffman gets put in the Reverse Bear Trap!!

Fav Saw Traps!

I think it’s harder for me to pick my favourite traps though. like I love the Reverse Bear Trap because it’s so iconic, the concept is not too complex yet it’s so horrifying and ingenious, but I don’t like the aspect of having to kill a defenceless person in order to “win”(many such cases tho). and it irks me in the tape when John says “it’s in the stomach of your DEAD cell mate…. know that I’m not lying” BUT HE IS LYING ‼️

visually I really liked the Angel Trap, it’s just so gnarly yet beautiful. something about the Venus Fly Trap visually I liked a lot too.

The Ice Block Trap in Saw IV, I feel, needed more screen time/care. I feel like the concept of it could’ve made for a very captivating watch - I think someone mentioned it paralleled Saw (2004) in the way that there was the real Jigsaw in the room (Hoffman) which the other victims were unaware of, there was the victim who was acting like a perpetrator (Art Blank) but was actually doing so as part of his own test. and the pathetic whimpering blonde guy (hehe). could’ve also used more of Donnie Wahlberg’s acting skills, I think he’s great!

*edit: omg I forgot about shotgun carousel, thought I wrote about it when talking about Saw VI but I guess not oops. the allegory of the dogpit having to deny 2/3 of all applicants thus sentencing them to death, and William Easton having to do the same with the dogpit. he’s forced to use his algorithm on his own team, the symbolism about the blood on his hands, wheeew.

anyway thank you for asking!! excuse the rambling but it was nice to get this out

:D