#well what’s more of a thing than forgetting important design elements of your own characters anyways

[chopshajen]

15. Janos

Ok so I royally screwed up the threading when I was posting this to Twitter which is why this is late but anyways. I watched OFMD and played DnD today which is why we get Janos with Jim’s season 2 hair. Jim is an nb icon and gender goals

[clottedscream]

How I would do My Little Pony: Friendship is Magic: A rewrite masterpost

Long ago, two all-powerful queens ruled over the prosperous land of Equestia. Queen Solaris, The Sun Mare, ruled the daytime sun, and her younger sister Queen Selenia, The Moon Mare, ruled the night sky. However, as the legend goes, Selenia grew jealous of her sister’s power and adoration, and launched an attack against her older sister using her army of fearsome dragons. The great Solaria was able to defeat Selenia by trapping her in the moon, and turned each of her dragons into a constellation to fill the night sky. But when Selenia was banished to the moon, the ways of ancient magic went with her, the knowledge lost to all ponies including Solaris. Some say this was Selenia’s final curse: a spell of forgetting. But instead of falling to despair, Solaris founded the Royal Canterlot Academy, a research institute and school dedicated to re-learning the secrets of the world. She invented a new magic, Alchemy, which used the magic of natural things as components to power Alchemical spells channelled through a pony’s wings or horns. Alchemical spells can move the four elements of Earth, Wind, Water, and Fire, or can even combine them to create more complex spells, by spending the magic in component objects. But the ways of ancient magic are still present in the mysterious music of ordinary things, lying and waiting to be discovered... by anyone who knows where to listen.

[Image ID: A simplistic 2D drawing of Queens Selenia and Solaria, two very similar looking alicorn ponies. Selenia, left, is rendered in two shades of blue. Solaria, left, is rendered in two shades of orange. They face each other in symmetrical poses. End ID.]

Hey there! this is my masterpost for how i would rewrite MLP! This post will have my world lore writing, plus links to all the main characters’ art n bios once I’ve gotten those finished <3. This rewrite is partially inspired by Jenny Nicholson’s video on the same subject, so credit where credit is due, but mostly it’s my own work! This will include redesigns of all the main ponies plus some unique world lore of my own design.

lore stuff under the readmore :)

Unicorns, Pegasi, and Earth Ponies

[Image ID: a simplistic 2d drawing of a Unicorn, a Pegasus, and an Earth pony, in red, blue, and yellow respectively. End ID]

The three types of ponies who live in Equestria are Unicorns, Pegasi, and Earth ponies. 

Unicorns have horns, as well as tails that are more lion-like than other ponies’. Through their horns, Unicorns can channel Alchemical magic and cast spells of any kind, pushing the study of alchemy to new heights with their innovation and research.

Pegasi channel magic through their huge feathered wings, but their range is limited to the elements of air and water. Pegasi are so in tune with the air, however, that their natural aptitude far outweighs that of any unicorn, and they use their magic to perform incredible feats of aviation and control the weather. 

Earth ponies are incapable of channeling alchemical magic, but being cut off from alchemy puts them far more in tune with the ancient magic of the earth. No pony is quite so skilled at intuiting the magical properties of things as an earth pony is, so they’re the ones who produce and manufacture alchemical components. Earth ponies run the mines and farms that make Alchemy possible.

Cutie Marks and Appellations

In this version of Equestria, your cutie mark is only of secondary importance. Instead, young ponies excitedly wait until they’ve earned their Appellation. A pony’s appellation is a byname, like “The hunter pony,” or “The painter pony,” that grants them a small, special power of their very own. Maybe it lets them summon confetti, or maybe it lets them talk to animals! Whatever the power may be, it’s determined by what their Appellation means to them.

Appellations are a very old form of magic, older by far than even Queen Solaris herself. They’re a representation of a pony’s very soul. Appellations are bestowed upon you by another pony, usually a parent or a close elder, but a pony’s best friend works just as well. Most ponies get their first and only Appellation when they earn their cutie mark. However, since a pony’s Appellation is a representation of their soul, they are changeable and adaptable, just like the pony themselves. When another pony recognizes and bestows an appellation on someone, they’re interpreting a feeling of intense magical energy, but all ponies are fallible, which means sometimes a pony will get an Appellation that doesn’t feel quite right. 

A pony can earn their appellation through great feats, or through a deep introspective searching of the self. Appellations can even be formed in crisis or events of extreme trauma, but fortunately if a pony doesn’t want to identify with that byname anymore, they can also work to achieve a new one through therapy. Once a pony gets a new appellation, their power might change a lot, or it might stay the same- it depends on how different the new byname is.

The Mane Six (+ Spike)

Twilight Sparkle, “The Alchemy Pony” 

The star graduate student of the Royal Canterlot Academy and the Queen’s own protégé. Twilight was found abandoned as a young foal and taken in by the queen, raised as her apprentice. From a young age, she showed great prodigy in the Alchemical arts. Once Twilight graduated from the academy, she was given a grant by the queen to conduct her own research for the betterment of Alchemy and of ponykind. One fateful day of adventuring and researching, she spotted something falling from the sky- a sleeping dragon! Catching him just in the nick of time with a telekinetic spell, Spike the dragon, once a soldier in Selenia’s army, awoke and swore to be loyal to Twilight until his very last breath. Spike believes he owes Twilight a life debt, and tries to use mischievous means to guide her towards magics that are ancient and dangerous, to give her a power comparable to his dark queen of the night... except, he’s also tiny and totally incompetent, so he’s not really all that great at swaying her towards the dark side. Instead, he kind of just tags along with Twilight on her adventures. Twilight’s research has her currently posted in Ponyville, a rural but lively town in Equestria’s countryside, where she aims to study the small local industry of growing and manufacturing Alchemical components.

Applejack, “The Stalwart Pony” 

Everyone knows that Applejack is the unofficial leader of Ponyville. Sure, the mayor is legally in charge, but Applejack is the fierce, reliable, and resilient heart of the town. She organizes, knows when to take charge, is cool in a crisis, and is always there for others to rely on. She’s also the owner of Apple Orchard Farms, her family business that grows earth-element alchemical components... and some damn good apples, too. Applejack values hard work, responsibility, and collectivism above all else (she’s very pro-union), but sometimes the pressure her town and her family puts on her to be the leader weighs heavy on her shoulders. She’s everyone’s big sister, but who’s there for her when she needs a sister to rely on too? Well...

Pinkie Pie, “The Celebration Pony” 

How to classify Pinkie Pie? She’s the town handyman, the problem solver, the “always there when you need her”-er. If you have a stubborn infestation of kitchen gremlins, or a broken radiator, or need someone to help you carry your groceries, or you just need a shoulder to cry on, you call on Pinkie Pie. Her family sent her to the Royal Canterlot Academy when she was just a little filly, because her prowess with alchemy as a unicorn was well above average for her age. But years in a stifling academic environment wore her down until she had no choice but to drop out. Applejack offered her a spare loft in her barn, and they’ve been best friends ever since. Pinkie Pie floats about town, making friends with everyone and putting her hooves in practically everyone’s metaphorical pies. She loves being helpful and friendly, and she also loves how the people of Ponyville respect her need for independence. 

Rarity, “The Arcane Pony” link TBA

Rarity is a collector of oddities and curios, an appraiser, and an artist all rolled up into one. She runs an eclectic antique store that doubles as her personal boutique and art gallery. She’s always on the hunt for things strange and exceptional, and her appellation gives her an extraordinary gift for recognizing the finer details. She’s still a fashionista, but she’s more interested in fashion that’s super unique or vintage or rare. Her store is totally cluttered with all of the strange things she’s collected, all of them beautiful and one-of-a-kind. She’s an artist down to her bones, and is known about town for being... just a bit dramatic. When anything needs an artist’s touch, though, everyone knows Rarity is just the pony to call. Using her appraisal skills, Rarity moonlights as an amateur detective, sleuthing out mysteries around town.

Fluttershy, “The Arbor Pony” 

Fluttershy is that weird, creepy pony who lives at the edge of town, never talks to anybody, and never wears shoes. That’s what others say about her, anyways. Being the Arbor pony has given Fluttershy a very close connection with nature, to the extent that some say she can even talk with plants and animals. Perhaps that’s why she’s the self-appointed guardian of the Everfree Forest. Fluttershy was born with a disability that made it impossible to fly on or channel magic through her wings without experiencing chronic pain. Once it became clear that no amount of time in the hospital could cure her wings, Fluttershy moved out of the sky city of Atmospheria and down to Ponyville, where she could walk from building to building. There, she discovered her love of nature and finally earned her cutie mark. She even got her Appellation from a certain other local pegasus. In reality, even though she’s a bit of an introvert, Fluttershy is very kind, and loves to have her friends over for tea. It’s just that many of her friends are bears or spiders, is all.

Rainbow Dash, “The Thunderclap Pony” link TBA

Rainbow Dash was the hotshot valedictorian of Atmospheria Academy, the school for weather ponies. A fast flyer and a savant with all things rain and shine, she cruised right into a job at the Royal Air Force (y’know, the royal division of ponies who can control air). Her Captain didn’t find that all too charming, and he assigned her to manage the weather in the nowhere town of Ponyville to knock her down a peg. Applejack and the ponies of Ponyville resent that she lords her talents over everyone and acts like she’s too good for their town, thinking that she must be coasting on talent alone. But really, Rainbow Dash is a hard worker who’s fought for every ounce of skill she’s got. She believes that personal excellence is a journey, not a destination, and she’s never done training and improving. Perhaps because she feels like such an outcast, she clings to the one pony in town she knows from Atmospheria. She and Fluttershy make an odd couple, but despite their differences, they’re totally inseparable as friends. Just friends, that’s all. Gal pals, even.

[euroartofficial]

What is a luxury door handle and how to choose one

A luxury door handle isn't just a way to open a door, it's an artistic statement and a sensory experience. It enhances the door and elevates the entire space with its craftsmanship, materials and design. Here we explore how the right choice of luxury door handle, knob and ironmongery can transform your doors in design statements in their own right and enhance your properties interior.

Lever or Knob, what is right for your door?

One of the biggest decisions you have to make is whether you’ll go with door handles or door knobs. There are plain and simple styles available for each, along with more flamboyant and decorative options. Door handles are generally more ergonomic and suit both modern and traditional doors, whereas door knobs are suited to classic interiors and period homes. Luxury design and finishing is available in both. Here's what can make a door handle feel special and give you that luxury feeling:

Luxury door handle design

The design of the handle should complement the door and the design of the property, creating a cohesive and harmonious look. Modern door handle design is constantly evolving with new shapes and materials but are generally straight and sleek. Traditional door handles meanwhile often have a curved lever and nostalgic finish such as bronze or brass. Luxury Handles often custom-made and standout through intricate detail such as geometric patterns or elegant curves that showcase expert craftsmanship. Bespoke door handles and knobs can be tailored to reflect your personal style and to match the architectural details of your home. For a price, you can even personalise your door handles with something personal to you such as a hobby. The important thing to consider is how it complements your doors and the interior design.

                 

Materials

As you would expect luxury handles consist of materials and finishes that are a bit less run of the mill and more exclusive. •    Solid materials –Luxury handles are made from high grade metals that give them a heavier weight than standard handles and an indulgent feeling.  •    Premium metals finishes: Forget polished chrome and brass. Think Antique Brass, Black Bronze, Brushed Copper or Matt Satin Nickel. There are many luxury metal finishes to make sure your property shines with character, style and luxury.  •    Brass, whether its satin brass or antique, Brass has always been a popular choice for quality door handles because of its warm feel and closeness to Gold. It also well suited to classic homes.  •    Natural elements: For earthly elegance carved wood, inlaid mother-of-pearl, or even etched stone have been features of luxury door handles.

Functionality 

A luxury handle should feel solid and move effortlessly in your handle. It important to have a high-quality mechanism within the handle to ensure performance. Care should be taken to ensure the handles are well fitted and the levers are level on the latch. 

Overall look and feel

Balance and proportion: The handle should be the right size for the door and complement the overall design aesthetic.

Finishing touches: Polished to a mirror shine, antiqued for a vintage vibe, or coated with a special patina that develops over time – the finish adds the final touch of luxury. For consistency the door hardware should be in the same finish as your handles. You should also consider how the choice of finish ties in with kitchen handles, wardrobe handles, light fittings and other fixtures in the property.

Price point

While high-quality materials and intricate designs contribute to the cost, luxury isn't always about extravagant spending. At EuroArt we supply ranges of handles to suit different budgets. You will find all manner of handle designs and finishes that exude elegance without breaking the bank.

The finishing touch

Ultimately, a luxury door handle is about making a statement. It's a subtle detail that speaks volumes about your taste, sophistication, and appreciation for quality. Internal door handles add the finishing touch to your doors and interior, tying together different elements of the space.

[loquaciousquark]

Game Masters of Exandria: Round Table

Good evening, good evening, good evening! Welcome to a special CR episode with our fabulous DMs of the CR Expanded Universe: Matt Mercer, Brennan Lee Mulligan, and Aabria Iyengar. Matt opens us up! Don’t forget that the Tal’Dorei campaign guide is out now. He’s so excited for more people to play in this world and expand it at their own tables.

Session Zero: very important, even with people you gel with and know well. It’s important to make lines and veils explicit. Aabria likes to have a tone check-in so everyone has a chance to give input. “It’s an amuse-bouche before you start the story.” Brennan sidebars all of us by just being so excited Matt opened up this sandbox for all of us to play with. Matt, cheerfully: “It was all an accident. It just kept growing like The Blob.” Brennan likens this to James Lipton meeting God at the pearly gates and discovering God has no idea what’s going on. Back on topic, Brennan quotes Voltaire: “I apologize for not having time to write you a short letter so I wrote you a long one.” Prepping for a confined campaign is very different than prepping for an open-world game.

Brennan tangents into a discussion of railroading vs. player agency; when you have a short campaign like this where a story has to hit certain beats, the railroading shouldn’t ever come from the DM. Instead, it should come from the players knowing their characters really, really well, which is all established in session zero. If you can establish really strong player backgrounds and motivations before the campaign begins, the plot can be wholly driven by them/their choices and still achieve the beats needed without ever taking away from player agency. “The rails are gonna be who you tell me you are.” The rails for short campaigns should be designed by the player, not the DM.

Aabria praises Brennan’s character creation style; she went into creation with him with half a thought and came out knowing everything about Llaerryn, and also knowing Brennan completely understood her too.

Brennan has a 13-year-old home game that had no session zero; he talks about how that had no creation session because he knew that game had time to expand and grow with the characters & the players would be okay.

Matt likes having everyone create characters together, or at least a session zero shortly after: this is how relationships started with Vex and Vax, Caleb and Nott, etc. Brennan thinks it’s critical to allow unfilmed sessions as well so the players can find their voices. Matt also likes to make sure people will be comfortable with their characters in the long run, not just the short run. He hates the idea that anyone is ever “locked in” to something they don’t want to play.

Sometimes, like for oneshots/charity games, you can’t have the session zero; in this case Matt likes to email the players just some brief back-and-forths to nail down one or two elements. “Who else in the party owes you a favor and why? What’s one regret from your childhood?”

Brennan tells us the GM is like a one-person Greek chorus. “When you are baking, you find out what you forgot to put in in the oven.” Backstory is meant to give you a trajectory; it’s not where you come from, it’s where you’re going. Backstory has to be a connection to the world; if you just show up with gear and no desires, no goals, “that’s just enlightenment, buddy, I don’t know what to tell you!”

Matt likes one-two page backstories; the more complicated it gets, the harder it is to incorporate things, but he’s also had a player whose whole character was a monk wandering in search of power, and he made that work too.

Backstory should be an invitation, NOT an expectation. Players should anticipate that not all backstory elements may come into play, but the GM should also communicate if they realize they may not be able to use the backstory at all. Players don’t want to wait for three years only to never get into their backstory, but also do have a responsibility to make sure it can be integrated into the world. Communication is key in both directions!

Brennan loves backstory in order to incorporate plot hooks he knows they’ll say “yes” to. If he has a party with no clerics, he knows he doesn’t have to work so much on the pantheon. I identify with this laziness.

Matt made his own settings at first because he was too scared to ruin or incorrectly run an established setting. Brennan enjoys making up canon in established settings, which makes Matt hilariously nervous. Matt: “For most of you, this won’t be livestreamed, so you can fuck it up as much as you want!” Brennan: “Dani Carr, in the corner, with a blowgun.” Aabria advocates taking a break and looking something up for something super critical that you can’t improv. Players always go off the rails; give yourself leeway when DMing for that. Matt also suggests telling players familiar with a setting ahead of time that “this is YOUR version of the world; some things might be the same, different, or conflict with canon, and that’s intended.”

Niirdal-Poc was super fun for Aabria to create. Creating something new in an established world, especially for someone not in love with high fantasy, gave her an amazing chance to pick out the themes she valued. This city was her love letter to the potential of power, whether it’s nature, divine, or wizardly. She ugly-cried when she saw the first map including it.

Brennan was incredibly relieved to get the Age of Arcanum over Aabria’s Kymal, because he was able to use the full weight of the established canon to build the world in retrospect. He especially loved the Aeor arc from C2, so this tied in beautifully with that.

“Fantasy is bad with time!” In Middle Earth, the best sword ever made was made 10,000 years ago; so are blacksmiths today emotionally distraught that they can’t get better? He much prefers Matt’s insistence on a calendar and growth and holidays and such to make it more grounded.

Brennan, on Aeor: “Yes, we have this lapsarian, Edenic thing necessary for the fantasy of populating a world with tons of dungeons and magical items because you need an ancient history for them to have come from,” but Calamity allows a grounding of that history’s existence without undermining the deeply tragic fall of the Age of Arcanum. He loved leaning into the differences between the ancient & modern worlds: Avalir had more technological advancements, Byzantine bureaucracies, etc., and he loved exploring the evolutionary paths of how to feed that into the modern world & Aeor's ruins. It let him fuck shit up without ruining the canon.

(Lapsarian: one who believes mankind has fallen from a higher state)

(Edenic: in the manner of Eden)

(Brennan also talks SO FAST y’all, criminy, and so many of his sentences are abandoned half-thoughts)

Aabria loves that he explained the Shattered Teeth. Matt jumps in here talking about how much he absolutely loves worldbuilding and collaborating on these pieces because it’s so much more freeing than coming up all of it in his brain by himself in his room.

He and Brennan spent an hour once discussing the cosmology and pantheon of Exandria while Marisha was at the vet with Omar (their corgi), including how gods relate to mortality. “I don’t get to have that conversation with just anyone!”

Brennan panicked when Sam & Luis went after Purvan in the show. He meant it to just be a cameo, but they expanded it past his plans. “Don’t make me explain this! This is a part I can really fuck up!”

Both Aabria & Brennan were so worried about breaking canon, but Matt loves that their choices instead clarified and enhanced canon, giving him things to build off of in future: “That’s much cooler than I was anticipating!” They expanded his world rather than breaking it.

“If you’re doing this at home, you can do whatever the fuck you want. Stop the Calamity!” Aabria: “If you see a tree and you don’t know what it’s doing, maybe just leave it alone.”

Aabria: “Every wizard is a yuppie. They wear their shoes to bed.”

What are Aabria & Brennan most proud of contributing to the world? Aabria: being light and irreverent about tragedies like the Chroma Conclave (Chroma spa cave), showing that nature heals and the past is not sacred. Matt loves having Taste of Tal’Dorei as Exandria’s own Casa Bonita. Matt loves finding humor in the darkness of humanity. Brennan: Humorlessness does not occur in nature. “Death is not a punchline, but it is a perfect setup.” He and his wife Izzy loved Everything Everywhere All at Once for the same reason (amazing movie!).

Brennan is most proud of how easily the Calamity crew handled the massive lore dumps he threw at them. Aabria had to learn 40 spell engines as part of her background. Brennan laughs about having texted Matt, “My job today is I’ve come up with 30 fake wizards.” Aabria felt really bad about how Llaerryn treated Madara, ha!

Brennan liked establishing that Vespin wasn’t a nihilist, he was hubristic. Vespin didn’t set out to release the Betrayers, he set out to achieve ambitions, which tied into the pattern of hubris evident in the Ring of Brass. Brennan loved painting the entire Age with this brush, showing that it wasn’t a coincidence, it was a trend over the entire age.

Matt loved how vibrantly Aabria brought Byroden to life--it’s better than he would have done himself. It completely changed his perspective on the city. Aabria shouts out Aimee regarding their conversations about Laredo, TX, and talks about how they wanted to find common threads that would reflect Vex & Vax as well as contrasting against Syngorn, which we saw more clearly in C1.

Brennan asks Matt about the misty history of Exandria. “It’s a little bit of the Matryoshka doll of the genesis” since C1 started in medias res. Aabria: “Who were you when you built this?” Matt: “Younger.”

It started as a city, Stilben only, for a home game for his VA friends. It was a oneshot without a country/continent name intended to be played for six hours on a weekend. Session two he built Westruun; when they got to session 3, he began building Tal’Dorei in Photoshop. He still has the old files of the early country.

He developed the name of the continent Exandria as the players expanded into neighboring countries. It was laying down the tracks right in front of the train, just developing things as needed. He notes that a lot of modern high fantasy is beautifully developed in aesthetic, but breaks down as soon as you try to dive into it. Brennan points out long-lived races with 150-year generations could theoretically date descendants without realizing.

The Calamity came out of Matt’s realization that there needed to be a recent historical event to reset the world. The Divergence was his attempt to rationalize the existence of all-powerful, all-knowing gods walking the planes and guiding the threads of fate, but then leaving great world-shaking danger to a handful of PCs. He wanted to come up with a reason the gods were removed from the world so that the players had to solve the problems themselves.

Brennan loves the idea of visiting the oldest part of a homebrewed world. If he were in Exandria, he’d want to go to Stilben. Oh my gosh, me too.

The Kryn dynasty was partly born out of a book Matt read about the idea of past lives.

There has never been a moment where Matt felt Exandria to be whole/finished. The pressure of having wikis listing out every contradiction he’s ever said does mean there’s a running list of things he needs to correct/address in future, which is its own kind of stress.

Brennan HILARIOUSLY calls out Matt for saying Tal’Dorei isn’t finished while the campaign guide is sitting right on the table in front of them. “This is not done? I’m just gonna go home. Not DONE? I got three months between seasons, okay. Welcome to Biggityburg, here we go. New city, new season. You wackity-schmackity doo, 10 episodes. Help me!”

Brennan points out that a ton of worldbuilding comes from improv in the moment passed off as fact. The players love it when they get the sense that you would pass out before running out of things to tell them about the world.

Brennan made his villains hot because Aabria made a hot spider queen. Matt laughingly says that he doesn’t make hot villains, he makes villains and the internet decides they’re hot.

Matt loves playing with new players and very experienced players; there’s a cycle. “When you first begin, you don’t know a lot of the boundaries. When you’re new to it, you make wider swings, bigger choices, you’re a kid learning how to walk for the first time and bumping into the furniture. Then you start coloring inside the lines because you’ve learned the rules, and then as you get more experienced you cycle back again” to breaking the rules with youthful abandon.

Brennan loves that the game MASTER is actually in a position of service. You’re making dinner for everybody. He praises Aabria for reading her players extremely well and giving them what they want.

Aabria asks about encounter map development. Matt prefers theater of the mind for smaller groups unless they prefer minis. However, with more players, the minis/maps help out a lot. He has been collecting minis for many years.

Brennan extols the virtues of Rick Perry, the production designer for Dimension 20, his D&D show. D20 has a lot of culture mashups (Candy Land Game of Thrones, high school for heroes, etc.), but those beautiful set pieces are often only used once. In his home games he uses lots of dry erase boards, Blu-Tack, and Othello pieces, which can be flipped over and written on the bottom of to track HP directly on the piece. He does prefer maps because he likes tactical play. For theater of the mind, he recommends checking in with the players a lot, because certain classes can get short shrift without clear/tangible tactical advantage (rogues, AoE spells, etc.). Maps with created elements also can lead to grist for player creativity--Reyka in the Bloodkeep series on Dropout was inspired by decorative chains that she used to tactically balloon her way out of a tight spot.

Matt also likes grids and hex maps for simple alignment without requiring a ton of prep. He recommends considering the terrain, enemy advantages and disadvantages, and a few interesting elements (like the chains) just to see what the players can do. He cites Orym’s messing with the augur machine which he’d intended to just be part of the scenery and using it to trap the Shape Mother.

Brennan: if you’re doing theater of the mind, don’t just breeze past environment or mood because that can open doors for the players. In the reverse, Matt points out that going hard into maps/minis can artificially limit what the players may think is useful unless they are experienced enough to ask questions about things in the room that might not be represented by the minis/maps.

Aabria’s prep time is roughly equivalent to the run time of the game she’s planning, just so she feels comfortable improvising. Brennan laughs that one time Izzy found him in the kitchen in the dark holding a container of half-and-half because he was so deep in thought about D&D. Matt will often start thinking about an NPC and embodying the physicality/voice in practice, and Marisha will call him out for talking to himself.

Brennan: “If you’re a dungeon master and you need some voices time, just don’t do it in the bathroom because other people in the apartment need sometimes to get in there, and if you’re in there doing voices time, they might remind you that that’s not the best place for that, and they might be brusque even though it’s kinda quiet and meditative in there.”

Matt has dozens of voice memos on his phone with various NPC voices he’s experimenting with.

Matt obsessively closes every tab in his office every time Marisha comes in in order to hoard his secrets.

Brennan: a home game should never have rails. D&D shows, however, have tentpoles; Rick Perry has to have guidelines for sets to create, so that’s different. He has to have character designs eight weeks before the first episode airs.

Brennan on rails, again: A player is looking for full immersion. Players aren’t generally trying to be storytellers themselves; they’re trying to inhabit a character who doesn’t know they’re in a story and is just trying to achieve a goal. However, the PLAYER wants the arc, so the player and character are at artistic odds. Characters are like water: they are running downhill seeking the path of least resistance. The players, however, don’t want the straight line. The DM’s job is to be the irrigator shaping the river running downhill; at the end of the story, the character ran in the straightest line possible to it, but the DM shaped the channel into something aesthetically pleasing in the process. The DM’s job is to recognize that the player’s & character’s goals may be disparate, and shaping the story to please both.

Matt adds that character story beat prep should be modular so that you can implement pieces that are important when it’s the best time for the story. Don’t lock critical information behind die rolls; don’t tie one piece of critical information behind one single NPC that they might never encounter. There should be many ways to achieve goals. Aabria likes the three-act structure because most people are familiar with that for movies, and good players who are also storytellers are great about lining up their shot in order to serve the plot. Having players recognizing the structure of the form is like having flowers turning towards the sun.

Brennan doesn’t remember a PC doing something that made a weight lift off his back in 24 years of DMing more than Llaerryn blighting the tree. It was such a perfect moment of a player serving the greater story. Aabria also using the bow as the last piece of her machine was a perfect way for Brennan to implement endgame steps, and he credits her for knowing how to help resolve the notes of the story. She was generously giving him the tools she knew he needed in service of the story.

Brennan talks about the first time Aabria DMed for him and mentioned, “And here’s what you don’t see,” and describes his own head popping off in the realization that you can do that?? He stole that immediately and has used it in his games ever since.

Matt talks about being very limited in his own style because prior to CR, so much of DMing was learned in a vacuum or in a limited friend group. He loves watching other live plays and seeing what other people are doing in completely different worlds. That excites him more than anything.

Favorite GM snacks? Brennan immediately addresses the camera in a classic Brennan rant. I’m so happy. “Let me be clear. This was put into this fucking questionnaire to come for me. If you’re at home and you’re afraid to tell your gaming group that you’re a snacker, I’ve got your back, okay? Because it’s okay to fucking snack. Some of us sweat from the moment we wake up to the moment we go to sleep. Some of our bodies are betraying us constantly. Would I have chosen this paper-white, fur-covered, constantly sweating body? No! I wouldn’t have! Does it require constant almonds? Yes! Almonds all the time, okay? And I’m not going to apologize to these two elevated beings, these two hovering pre-Skeksis pre-mystic light beings from The Dark Crystal--some of us are pod people, okay? I’m a little podling, and I need to snack. If I could have another mouth in my back--the biggest obstacle in my GMing, okay, is that the same place I talk from is where food needs to go! And I’m not sorry! I like to snack! And to answer your question, almonds.”

Aabria says Calamity was the least she’d seen him snack, which is how she knew he was nervous.

Brennan laughs that he hit the five-hour mark and his body immediately demanded a caffeine shot. As scary as the villains were, nothing scared Aabria more than Brennan saying, “We’re off keto.”

Aabria lusted after Brennan’s Funyuns, but couldn’t stand the idea of trying to have a romantic moment with Quay with onion breath.

Matt saw an internet comment about his eating early in the stream and stopped eating on stream after. :( However, he does find himself strongly in the moment DMing and loses his appetite anyway.

Brennan tells a hilarious story of getting in a car accident with some friends and eating a pizza and a half by himself out of anxiety afterwards. I have never identified with him more than in this moment.

And that’s it! What an awesome, meaty episode. Is it Thursday yet?

[genshingarbage]

Hiii, Good Morning/Good afternoon/Good evening Mod Kaeya,Mod Diluc^^, It's my first time requesting, Can I request? Angst with any Genshin Impact characters?,Soo The genshin characters are much more spending time with Lumine? Then the reader asks why they aren't spending much time with them and the genshin characters snaps and said the readers are weak ( reader is already insecured because they can't fight) and they have work to do then the reader leaves to fight hilichurl camps and unfortunately there's 2 Mitachurls ,luckly the genshin characters were on time to save the reader? Then they apologized to them? (It's Gn reader^^) sorry if it's alot and sorry if my grammar is wrong you both can disregard this ask stay safe ^^

Good afternoon dear Traveler!! Well done for making your first request! And such a lengthy one too oh my~ Your grammar is fine don’t even worry about it. Sorry for the long wait, Mod Diluc and I have been busy on the Kuzuha banner haha but I hope you enjoy this tear jerking tale (｡•̀ᴗ-)✧- Mod Kaeya

Recommending this song for this oneshot!

Go checkout Anna_drw01 for more art like this!! Here’s her artstation!

The distant scientist, renowned for being hard to get close to was someone you used to consider one of you closest friends. The two of you spent day and night together, hellbent of cracking open every single challenge you possibly could together. Many considered you two to be able to solve any mystery put in front of you together.

The keyword was together.

There was a mystery you yourself couldn’t solve; Why was Albedo’s time with you slowly becoming a rarity?

You’d been wondering why he’d been spending so much less time in the lab he’d meticulously built over years of his life or on site where his precious research was being buried little by little by crystalline flakes, tending to his experiments and recording time sensitive data that would be valuable for months to come for the research team. Albedo had been gone so long both you and Sucrose had designed a plan in order to cover the work he’s left unattended whilst managing your own on top of the store. It was beginning to get concerning. If the leader of the investigation squad was absent constantly then what did that mean for the rest of you? Surely he was only gone for the sake of something important he’d found, something he placed above everything else he was researching. That’s what you lent yourself into believing.

That is, until you saw him with her.

You couldn’t blame him honestly, Lumine was gorgeous. Her golden hair and fiery eyes are what a lot of men probably look for in a partner, even more so was the mystery behind her origins and the raw power she held in her fingertips at any given moment.

You didn’t have to have a vision to be able to tell that.

Maybe that was another thing he sought in her.

A traveling partner that could wield the powers of the elements, a traveling partner that could hold their own against the world. Maybe that wasn’t all he was looking for but also a romantic partner.

He finally came back to the investigation camp briefly one night, it was during a particularly rough blizzard ravaging across Dragonspine and the areas surrounding it a little like a turbulent child tossing snowflakes across already painted, buried monochrome peaks. He trudged into the camp with her rambunctious adventuring party, shouted something over the whipping wind about how they should get warm inside one of the communal tents dotted around the sparse camp halfway up the summit you inhabited and then ducked into the burgundy tent you were working away in with nothing but the clinking of vials harmonizing with the bubbling of flames. It was nothing but candle light right then in the morbid lonely night, only the sounds of the howling gales outside of the ones in your lab. If you’d felt like you were being watched during the night before now, Albedo’s piercing analytical gaze did nothing but soothe the loneliness you’d held inside yourself all night.

“I need a strong multi use Geoculus locator, if we have any.” The blonde said

He must’ve seen your shoulders perk up because he waited patiently as you searched through the shelves upon shelves of prototypes you’ve developed. After somehow finding one, you patted over to him. He seemed pleased with your work, if a bit distant as usual. He was in a good mood so you guessed would be the best time if any to ask. “Sir… with all due respect why have you been away so long?”

Albedo’s pale face was blank as usual though he blinked as if surprised you spoke, “Lumine needed someone with a sufficient Geo vision, I happened to be the one she knew the best to get the job done.”

“So you’ll be returning?”

“I never said that.”

You tried not to take it harshly, this was just how he spoke after all. “…could I come along then?” It was a long shot yes but you still missed his company, if it meant having to deal with him getting buddy buddy with that Outrider then you would suffer. 

It was quiet for a moment between you two as you stared him down and he observed the locator thoroughly. After he was pleased enough with the golden glowing device it was packed away into his back pocket without so much as a second thought, the man was obviously stalling while he thought carefully over the question but the result wouldn’t be to your liking evidently. You were about to make  a point you hoped would be convincing before he spoke, his voice sharp and words cold like the very ice being tossed around the blackened sky.

“No, you’re not a skilled enough fighter so you’d only slow us down more than we can handle to be right now. You’d be useless to us.” He put a hand to his chin for a moment in thought, “If you’d had been able to development a synthetic elemental burst like Sucrose’s swirl mark II…I would have considered but you can’t even do that.”

Watching him leave with them the morning after was torturous, they rushed off into the snowy landscape with barely a goodbye and never a second glance from Albedo beyond that. It stung.

Maybe that’s why when hilichurl camps, specifically ones becoming a nuisance to caravans as well as supply lines along Dragonspine almost avidly to the near point where there would be commissions called in, were brought up in conversation you elected to take a weapon and simply clear them out yourself. You could barely fight one off but usually they were smaller towards the base of the mountain so you figured it would be alright. You would just patch yourself up if you got a bit injured. Surely the pain of the injures would busy your silly little heart long enough to forget about Albedo and his cruel words to you, surely you would barricade your feelings of pining behind walls of broken bones and struggling through the snow. Maybe that was the remedy, the answer you needed to your mystery. Your pleas would probably be hidden by the snowstorms anyways.

Mitachurls unfortunately inhabited bigger camps. Thankfully, Frost Lawlichurls tended to live alone. The former happened to find it’s way to you, charging with the might of a bull on ozmanthys wine. As you were bowled over you heard an abrupt shout, maybe saw a brief flash of familiar golden light as the battle grounds around you erupted further into chaos but it didn’t matter that pale arms were abruptly gripping you to a panicked sword user. Your vision was to blurry, the shouts of attacks and spells too muffled and faint, your body felt too limp to comprehend even the though of moving. You could barely breathe.

Someone was muttering, crouched around you and holding you close, muttering something over and over again. Something important. The feeling of their lips pressed against your forehead, his quiet gut heaving sobs as he rocked you back and forth. Albedo’s pleas for you to just hang on a moment longer—

Where were you again?

There was sunlight and it was warm, a pleasant warmth that almost lulled you back to the sleep you’d fallen into. The only thing that kept you awake was that this was indeed not your bed.

Where were you?

Sitting up hurt, your whole body ached and you were certain something must have been rearranged or was missing because the pain shot through you like an arrow. Your sharp exhale alerted the two others in the room, one who immediately sprinted to get a nurse in an emerald and navy flurry of skirts and capes.

You were dizzy, only steadied by a gentle hand on your limp shoulder. Ah, when did you turn to face him?

The blonde man infront of you asked if you remembered what happened, his voice was soft but didn’t hold any emotion. The smoky circles around his beautiful striking cerulean eyes did nothing but worry you slightly as they implied a long period of time without sleep. You’d imagine him to be the sciency type who didn’t really know what to think of other people so he stayed nose deep in books to pass the time, though there was a deep sadness in the way he held himself you couldn’t understand.

“I don’t…who are you?” You thought you saw him flinch but figured it was a trick of the light.

“No one important, nevermind me.” The man sat up with an unreadable expression even for how blank it had been for this whole brief conversation after you had awoken, getting up from his chair to begin walking to the door when he stopped. “I’m sorry.”

“…for what?” You didn’t understand.

“Nothing that would natter now, please. Rest.”

You didn’t remember.

[roast-ifs]

An Interactive Horror Novel

Smoke & Velvet is a cosmic horror story with fantasy elements, including magic, monsters, and things that skulk in the dark. Based in a world crafted from scratch, you play as a character plagued with horrid visions, hallucinations, and the terrible fact that your choices matter.

→ The Story

It's 1913, and two years ago you got caught and sentenced to be an agent of the East Rhodagna Agency's monstrous investigations division. You work off your parole, travel the country, and try to solve cases before they kill you. Or before the fevers get to you.

Your latest mystery is plagued with lies, inexplainable phenomena, and a darkness that seems to like the way you taste. Why has the thing in the dark targeted you? What is it? And do you deserve it?

Find your truth, and make your ultimate choice.

→ Character Customization

In S&V you get to play as a monster, choosing between three separate species, with their own unique backgrounds, abilities, and connections. Play as the fire-spitting hellhound, the four-armed basilisk, or the nebulous core of a living porcelain doll.

Customize your character's room, sub-species, clothing, and their glamoured alter-ego. You get to choose between all kinds of romantic and sexual pasts, including aromantic, asexual, sex comfortable ace, as well as a character with a promiscuous past, or one not at all.

And several other customizations! Like height, vices, and the crime you allegedly committed!

→ Personality

As you play, your choices will change your character's personality and their relationship with others. There are eight personality traits that operate independently of each other. Meaning, you can be a bit of all of them. Each trait will have a different flavor, creating a unique experience with every playthrough.

You can be: Aggressive, Benevolent, Charming, Cruel, Diplomatic, Emotional, Shy, Stoic, or a mix of all of the above!

Your choices will also change your friendship and romance with characters, as well as your amiability vs. rivalry with them.

→ Rivalry & Failure

Rivalry is not a negative thing in this game! Neither is failure! Both are designed to introduce other roleplaying elements, instead of punishing players for not min-maxing their stats.

Rivalry: A relationship with high rivalry means your relationship is one that challenges one another, to be better, different, or to question their status quo. A character with whom you have a high rivalry with does not mean you don't get along, merely that you communicate or value things differently from one another.

Failure is a choice, and one that won't ruin the game for you, kill your character, or otherwise make you want to give up. The game is designed to encourage natural character choices instead of min-maxing stats. Stats are still important, if success is what you're after, but failure is still an option, one that opens up all different kinds of roleplay avenues.

→ The Cast

There are four romance options, as well as three polyamorous routes. Three of the ROs can have their gender chosen by the player, while the fourth is an AMAB trans-woman.

Romance your partner and handler, a studious, if forgetful, medic and apprentice witch.

Take a flirt with your monstrous counterpart, a unicorn with sarcasm and wit aplenty. Watch out for the hooves.

Fall for your combat expert, who is more humor and theatrics than any kind of caution.

Or take a turn with your terribly shy but earnest harpy attendant. Feathers and all.

→ The Nitty Gritty

We're officially over 100k!

The game is updated on the 19th of every month. Unless you're a patron!

Patrons receive updates on the 1st and 17th of every month, as well as early access to WIPS and art made for the game.

Warning: This game will go over many potentially stressing elements. Please review the content warnings before reading! Stay safe, stay healthy, and wash your hands ♥

Play the game!

Join the Discord!

Become a Patron!

[camgirlkaminari]

so ive been thinking for a while now how bonkers it is that ochako has a floatation quirk and an almost identical hairstyle to inko midoriya, and now that we're closing in on deku mastering all 7 ofa quirks, I can't stop thinking that nana, a woman who has been textually compared to inko midoriya, ALSO had a floatation quirk. i wanna ramble about it a little bit:

inko's first introduction to the comic is her telling us that she can float small objects toward herself:

she's an older generation, so her quirk isn't all that powerful compared to the kids' quirks. this is apparent when ochako comes into play and can float much larger objects, but with less control over their trajectory. i think we're not ever meant to compare the two characters' quirks, since ochako is more powerful, and can also float herself. even further, inko doesn't seem to suffer any consequences for using her floatation quirk, but since we are only shown her using it once, there's no way to know.

(i find inko to be such a strange character. she spends so much time crying and being deku's mom that we forget that she is her own person. she's married. she has a quirk. what's her job? how does she pay the bills? how did she meet her fire breathing husband? does she have parents of her own? we know so much more about everyone else's parents than we even know about the main character's mom! this feels so deliberate, even beyond the fact that we are all wondering if deku's dad is somehow ~a villain~. like I don't care about deku's dad! what's up with his fucking mom!!)

so now we're so focused on ochako's journey to mastering her quirk and learning how to float herself in addition to huge objects that we almost forget how similar to inko she started out: her hair, her face, her kindness, her strength.

spoilers ahead: 

now, like 150 chapters later, we learn about nana shimura's quirk: float. deku knows what's coming, so he asks his friend ochako, who can float, for pointers on floating. this is excellent strategy, deku! good call! you don't know anyone else who can float themselves so you learn from ochako!

meanwhile, absolutely NO MENTION of how 'hey, my mom can float stuff too! weird coincidence!' despite him remembering all might's comparison of nana to his mother.

all of this leads me to have a few theories about the nature of afo & ofa, the relationship between ochako, nana, inko, and deku, and the major themes of legacy in bnha.

theory one: Gramps For All

there's a massive theme in bnha of grandchildren of importance. first, we learn that tomura shiguraki is the grandson of nana shimura, a pro hero, one of the three factions warring for a place in post-quirk society. then we learn Eri is an instance of this: she's the granddaughter of an equally influential player. The comatose boss of the yakuza, one of the three factions warring for a place in post-quirk society.

there's all kinds of legacies in bnha: shouto, the son of the number 1 hero, a direct victim of hero society. iida, the younger brother of a hero who was victimized by a villain hell-bent on changing hero society. hawks, the son of a serial killer, a victim who perpetuates the cycle of victimization in the name of upholding hero society. all these legacies, but we don't know anything about their extended families. what are endeavor's parents like? were iida's grandparents pro heroes too? does hawks really have no other family?

and where are deku's grandparents? did they ever watch him while his single mom was working?

my theory is that afo is not dad for one, but actually gramps for one. he had children, more than one, and they each had their own children. inko is one of them, and izuku is the resulting child.

deku, grandson of all for one, one of the three factions warring for a place in post-quirk society. eri, shiguraki, and deku, each representing the groups most affected by post-quirk society: yakuza, "villains," and "heroes."

theory two: ochako & deku are cousins

why the hell does ochako look so much like inko midoriya and NOT her parents?

(in the anime, they look a lot like her, but in the manga...)

gramps for one had children, more than one, and they each had their own children.

i think that ochako may be adopted, or one of her parents is, or perhaps even inko was, so ochako's connection to biological relations is distant or non existent. she may not even know. we've seen that horikoshi doesn't make character design mistakes, and he's gotta realize that every time he draws deku & ochako in the same scene that he's drawn the same face twice.

so either he's trying to throw us off, or he's making a grander statement about who they are. he's a fan of star wars- he's already done a reverse of "I am your father" with touya & endeavor, so I think it would be interesting if he's set up this ochako/deku thing as a fun homage to luke/leia, too. but they're cousins, not twins.

(that's just deku times two, babey!)

inko, unconnected to her family as she seems, may never know if she had siblings or half-siblings. ochako's parents may never have known about ochako's biological relations.

this is a much weaker theory, but i think quirk singularity theory can make some sense of it. we have the original float quirk user, nana shimura. I don't think she is related in any way to inko or ochako, but her quirk helps demonstrate the generational growth of power. she was a hero before all might, meaning she's an earlier generation and had an arguably weaker quirk. but since she was a hero, she honed her quirk so that it comes across as incredibly strong, however she seems to have only been able to float herself, not objects or people.

float quirk user number two, inko midoriya, who can float small objects toward herself. she's the next generation after nana, so her quirk is still kind of weak, and in fact looks incredibly weak compared to nana's and ochako's quirks. inko is a nobody, not a hero, just deku's mom. she had no reason to hone her quirk. who knows? maybe if she'd gone on to be a hero, she could float entire buildings if she wanted to.

float quirk user three, ochako uraraka. ochako can float objects AND herself. she's a hero and a strategist, and incredibly strong despite being 16. she can float pieces of buildings and people and herself all at once. she's a hero. she's powerful. she's thoughtful & kind, yet willful and strong. she's the ultimate culmination of the other floatation quirks as well as inko & nana's personalities. but since we were introduced to these three float quirks all out of order, it's difficult to see the exponential power growth that happens each successive generation.

I don't think that ochako's ever going to be a major player in the end of all for one, or even the plot overall, but i think the THEME of ochako being the ultimate floatation hero in the series is a major player in the final story. ochako REPRESENTS the singularity. the generation after ochako will be so strong, perhaps her descendants would be able to negate all gravity in the vicinity, maybe on the planet. who knows! even if ochako isn't related to deku, let's say dechako happens, they have babies. that's a lot of float quirk in one couple! their kids are gonna have no bones! no muscle development because they never have to fight gravity! ochako's existence represents such a huge, yet nearly invisible thematic element of bnha.

tldr: ochako looks exactly like inko and has a cumulative float quirk reminiscent of both inko & nana, and i suspect the parallels between the three is deliberate for some reason. i just think that's neat.

[caguaydreams]

A thorough analysis on why Vah Medoh’s dungeon theme makes me want to cry

Yep, that’s an accurate title. Hi there! do you have a moment to hear about Breath of The Wild soundtrack? posting for yet a third time in hopes that tumblr won't hide it. I'm so tired

What started as a quick and harmless post, pretending to simply point out a couple of things, rolled downhill, out of my grasp and turned into a massive snowball of a short essay. How and why did this happen? Well, I assume a lot of people know about this song, and know what I’m talking about when I say that it makes me tear up and sob uncontrollably with every change in key as the seconds tick by and I spiral down into a dwell of misery from where I struggle to find the exit and to later recover.

……No?…..At the VERY LEAST it makes you a little uncomfortable. And I state this with much certainty, because after reading hundreds of comments everywhere online where this song is present, I picked up on a vast majority of people who expressed to feel the same way I did when it came down to our current music subject. See, statistics don’t lie… normally. So, naturally, my intrigue got the best of me. I wanted to find out exactly why this soundtrack was mercilessly stirring up everyone’s emotions, so I caved in and we ended up with this.

Buckle in, fellas.

Out of all Divine Beasts’ dungeon themes, Vah Medoh’s is the one that I can’t sit through. Not without growing antsy and wanting to turn it off as soon as possible. I find it genuinely difficult to listen to, and it’s not only because Revali is my favorite character and the song is just, plainly put, depressing, mind you.

We’ll start from 0 terminals activated.

It opens up similar to the other three dungeon themes; the pace is slow but eerie, gives off the impression that it sounds broken somehow. Something is off here, and it’s easy to figure out what that is from the get go: you’re basically entering a majestic, ancient, mechanical mausoleum, where everything went terribly wrong a century ago. Someone is gone, someone you knew, someone who was probably close to you, but it’s impossible to be sure. You don’t remember a thing, and this entire ordeal is confusing at best, and terrifying at worst. It’s your duty to make things right again.

It’s the same for all four Divine Beasts upon entering, save for the obvious little differences that separates them from each other and make them unique. Ruta’s is played on a major key, adhering to a sense of hopefulness. Naboris’s begins with a startling smashing of the piano keys, much like thunder of a sudden lighting strike. And Rudania’s theme starts threatening, dangerous, like scalding lava.

But now, back to Vah Medoh. The tone here is… alienating. The dissonant chords are all over the place, and feel disconnected, cold. It’s almost as if someone doesn’t want us to be here, or just like the elusive key, our presence is unexpected. Fitting, for a Divine Beast that’s high above the land, impossible for most to reach, yet we somehow made it. Apart from the piano, we have the occasional hint to rito culture, in the shape of a short, synthetic version of the rolled chords at the very beginning of Rito Village. A quiet reminder of where we come from. There is also, of course, the morse code distress signal, but we’ll talk more about that later.

As soon as this formal introduction is over, we finally get to the more, say, intimate stuff. Oh, and wouldn’t you know, it’s just tragic.

One terminal activated.

There’s no better short way I can describe this passage, other than anxiety-inducing. Especially when the strings come into play, and there’s two reasons I can think of why I feel this is an important thing to point out:

1- Characters and Symbolism.

I tend to associate stringed instruments, all of those which compose the violin family, with rito culture. And Revali, most specifically. In Creating a Champion we can see the early concept art and designs for all or most major characters in the game, and Revali’s highlighted rough design might be the one that changed the most throughout proper development of the character, out of all champions. He looks quite different from our usual depiction of him, it’s fascinating. What truly catches my eye, however, is the design of his bow.

You thought bird puns were bad? Oh boy, how do you feel about Revali having a bow that looks like a violin/cello/viola??? And do you need a bow to play it also??? Like, is it even an instrument or it’s nothing more than a mere fashion statement?-

Anyway. I believe this was originally going to be a not-so-subtle wink to rito culture, being heavily musically inclined as we can see and conclude for ourselves. Perhaps Revali was going to be a musician as well, now how cool it that!

Needless to say, the idea was eventually scrapped. But one detail I am CERTAIN carried over to the character we know and love today(okay not all of us love him but seriously if you dislike him why are you still here lol): strings. The association between bows(weapon) and stringed instruments, aside from being a quite clever and creative one, goes beyond the concept art and remains strong as part of Revali’s character, settling for having a presence via score. After all, Revali is a master of archery, so in that way it makes sense to keep strings as symbolism to reinforce the idea and drive it home.

But can you guess what other thing Revali excels at? That’s right: flying. He’s the only rito we know of who successfully managed to take advantage of wind currents and bend them to his will. And do you know what musical instruments are often used to evoke the feeling of flight and gale? If you thought of bowed strings, you’re correct! Unfortunately, I couldn’t find much support on this topic online, so you’ll have to take my word for it. I am most certain that this is fact, although not something worth discussing on the Internet, by the looks of it.

Anyhow, violins/cellos/etc are ever-present whenever we’re close to Rito Village or dealing with a rito related mission. Attack on Vah Medoh, for example, features a sequence of strings that is meant to evoke the strong winds we’re fighting against in that particular moment(*). Another great example is The Final Trial, the song that plays at the shrine of resurrection nearing the end of the Champions’ Ballad. Preceding the activation of each terminal, you’ll notice that a new instrumental element joins the crowd: the first one corresponds to the tambourines, related to the zora and Mipha; the second one are strings, referencing the rito and Revali, etc. I tell you, the moment I heard this during the trial I almost started crying like a baby. And, although strings have a lot to do with Rito culture in general, they tie most strongly to Revali, since he was the champion of his people, and his legacy carried over throughout the years. His accomplishments became material of folk tale, a legend, a source of pride and inspiration for the village. And let’s not forget that, at the end of the day, Revali is the crucial and foremost connection Link has to this place. Other than appeasing Vah Medoh, Link’s responsibility here is to free his past fellow champion’s spirit from Ganon’s malice. The soundtrack is referencing Revali first, and by extension his devotion to his home.

With all that in mind, let’s move on to our next point:

2- Nowhere to Go.

You shoot the canons, land on top of the Divine Beast, do what you gotta do, activate the first terminal and the soundtrack goes off unannounced. Like some sort of surprise anxiety bomb. The rhythm turns fast, the melody erratic, incredibly desperate in its execution. There’s this sheer despair, fear, this feeling of suffocation almost, which are so well achieved in this particular piece.

And that is, partially, because a quite familiar resource is used here as well; one that we’ve heard before in songs such as Rito Village or Revali’s theme. You could even think of it as a motif: two notes are played in an semitone interval, repeatedly and in quick succession. For the sake of later convenience, we’ll call this the Flight Motif, now let me explain why. In Breath of The Wild, this semitone loop is often followed up by some form of resolution. In Rito Village, formerly known as Dragon Roost Island(**), that resolution consists of a graceful descent of the melody, from a high that was built up previously during the motif. On the other hand, if you listen to Revali’s theme, you’ll notice that the interval repeats itself for a couple of times as thought charging up, to then rise fast and determined into a triumphal reprise of Revali’s distinctive assigned melody. This juxtaposition supposes the difference that lays between common rito flight and Revali’s trademark ability; both musical sequences are speaking of flight, albeit in two different languages depending on the way to achieve it. While the rito traditionally use their wings to glide and let themselves get swayed by the air currents Buzz Lightyear style, Revali takes full advantage of his flying capabilities to somehow create an updraft of his own, rising meters above the ground whenever he likes or needs to.

So, now that I layed out my base of thought when focusing on the strings, this’ll be much easier to explain. We’ve settled what the instruments themselves are a symbolic representation of Revali, in this scenario specifically. He was the only one inside Vah Medoh, and the score is, in a way, a retelling of what we can vaguely assume went down here during the Great Calamity, as much as it is what sets the tone and ambience for Link’s mission. But what are we hearing exactly? What we talked about, the Flight Motif, is being repeated nonstop. And that’s the thing, remember how I mentioned that this sequence usually finds resolution at the end? Well. Inside Vah Medoh,… it never does. The melody picks up in numerous occasions, but it’s not nearly as graceful, or calculated, as we’ve grown used to by now. It gets tangled and lost, and then inevitably falls to the ground in disarray. The pattern repeats itself, reaching higher after a handful of failed attempts, but no matter how much it tries, the cycle never ends. What used to tell us about flying and freedom in the skies, has morphed into an almost sinister musical incarnation of a tornado, and there is no way out of this trap. What do you think it must feel like to mindlessly flap your wings against wind currents so strong and violent, that it is impossible to get anywhere nearby, let alone take off every time you lose your balance. Or every time you’re shot down. On top of that, trying to aim and fight back in whatever short breaks and opportunities you get, at an enemy that’s much more powerful and relentless, who’s using your own element as a weapon to destroy you… it’s a risk Revali surely had to take in order to put up a fight. Even knowing full well that the odds were not in his favour, that he was most likely going to lose this battle, that he was going to die. Let that sink in. I’ll skip the activation of the second terminal, since there’s barely any change registered in the theme in general. So-

Three terminals activated.

I know this post is supposed to be a breakdown of the song purely, but that doesn’t mean there’s no place for a little theorising, and the following scrutiny is also quite relevant for our discussion. Bear with me for a bit. I’ve read almost everywhere about people’s most common interpretations on the Divine Beasts SOS signals, and how everyone thinks that Revali’s coming in last (a few seconds later than the other champions) has to do with him holding on for longer. Or, also, overconfident as he was, it means that the idea of calling out for additional support didn’t cross his mind until it was too late, and that’s why the beeping sounds more frantic and panicked than the others’ when it does appear. After giving it some thought myself, I’m betting on the latter option holding more ground, and that’s not all. I want to touch upon a detail of the piece that I never acknowledged was there until very recently(after seeing myself obliged to listen to this song fully and a handful of times, suffering every minute of it for the sole purpose of this analysis. It’s okay I didn’t need my heart anyway). Soon after activating the third terminal, the SOS signal disappears, or grows distant and faint enough that we can’t make it out from the background anymore. In its place, we’re confronted by this… shrill, piercing and painfully slow tune. It sounds synthetic, artificial, devoid of life. And it’s funny, because you know what it reminds me of? I’ll tell you:

A heartbeat flatline sound.

And I want to highlight that this doesn’t happen in any of the other Divine Beasts themes. All their SOS signals carry on, but Medoh’s is no more. This abrupt stop, followed by this bone-chilling tune…. makes me believe that Revali was the first of the champions to fall. A few days ago I came across SuperZeldaGirl’s video on a similar topic, theorising that this could very much be the case. There is not much evidence to support this claim other than some visual cues that could be suggesting to it, but after I found this in the soundtrack, and if we’re to rely on it for anything, I believe Revali was either the first champion to be ambushed by Ganon, or well…. the first to be killed. It is plausible, because short after Calamity Ganon unleashes his power, Revali parts from the group and flies directly to Vah Medoh, and he very well could’ve been the first pilot to arrive.

On this note…. we’ll have to wait and see for ourselves, when Age of Calamity provides long-awaited answers to many of our questions.

Four terminals activated.

An interesting melody is being played on what, for me, would qualify as a glockenspiel or a celesta, which are keyboard based instruments that produce a sound similar to that of a music box(***). If you want to pay more attention to it, I suggest listening to Vetrom’s Instrumental Mix Cover of the theme, where they practically zoom in on this part of the song (keep in mind that it uses the All Terminals’ time signature so it’s being played faster). For some reason, this particular addition makes me feel profound empathy. The sound of this instrument could be described as cute or childlike, magical, even. It is more often than not used to represent innocence, but I highly doubt that’s specifically the intention here. Much like the leading strings’ melody, the melodic contour of this one is trapped in a loop of going up and down constantly, but the difference is that this time around it sounds more under control. And much more uniform too. It doesn’t lose focus or takes risky, fruitless leaps, but rather chooses to stay on a path of waves that consistently rises and falls without taking detours. Like a determined battle strategy, giving it your all. You fall, but get back up again, and try again, and again. It reminds me of Revali’s approach to training, being persistent to the point of overworking himself. He had discipline nailed down to a tee, which I also think served him well in combat. It’s not just about being hard on yourself, either, but being confident and having complete faith in your abilities; believing that you’ll make it.  For this to appear now, that the SOS signal is almost completely gone, is significant because it means that by this point, being so close to success on Link’s behalf, the music is sparing genuine encouragement for once, in spite of the tragic outcome of the past and the danger of the current situation. But, in all honesty, this is probably just me reading too much into it. Perhaps the composer just thought this addition sounded pretty bitching and there’s not much else to it, which is completely fine. Although, intentional or not, sometimes coincidences do happen, and at the end of the day, interpretations like this are a form of appreciation for an artist’s work and for what they can unknowingly accomplish.

All terminals activated.

This is the moment when the song finally lightens up. Notice how the strings abandon the wave pattern for a more even contour. The beat quickens, the melody stabilizes. At first I thought, coming from our flight analogy, that this meant a cease in movement entirely, and it was partly one of the reasons why the song in general makes me anxious. But thinking about it now, …there is something different going on here. The strings are playing on a steady rhythm. It resembles a march, it’s like a pounding heart. It’s a lively, hopeful statement. And what’s interesting is that, up until this point, there was so much fear and helplessness present in the score, even going as far as to reach a dead end when we activate the third terminal. But that’s it, isn’t it? the music just keeps going further. 

It’s saying: this isn’t over yet. Even after complete and utter defeat, there’s still hope and an underlying wish to overcome this predicament, and we started to hear this as soon as a fourth terminal is activated. The melody we previously talked about? it’s here as well, and its beat is much more daring and confident.

And I just want to say… this is so powerful. Because this sentiment is deeply tied to the game’s story and Revali’s character arc. You see, he is introduced as someone who resents Link for being the manifestation of his failure, in a way, because Revali has trained arduously his whole life to be where he is, to be recognised. And yet… this hylian gets chosen by a magic sword and some tale of divine destiny and, apparently, that’s all it takes for him to be deemed the hero that will save the land. In Revali’s eyes, Link has done nothing to prove his worth before him, so it is easy to see why he despises the silent knight so much; he is yet another individual that was born into their destiny. Meanwhile, Revali has had to build his reputation from the ground up, earning him a place among the greatest warriors of Hyrule, and even then he finds himself surrounded by people who grew up praised for being born gifted.  We can see how Revali is the odd one out, and can map out the reason for him acting so antagonistic towards Link.

But once we’re on Medoh, things start to change. When Link enters the Divine Beast, Revali greets him with disdain, as per usual. Of course, Link has no recollection of whatever happened a hundred years ago, other than a small glimpse of the rito champion talking down to him, a memory that came and went in a flash. So as Link, we more than expect Revali to act cold and mocking, which he does. He provides us with as little help as needed in order to free Medoh, reluctantly, shielding his wounded pride over having to wait for Link, of all people, to come to their rescue. But you can hear him starting to open up bit by bit(I wish I could translate his dialogue directly from Japanese but I’ll make do with a couple of dubs and other numerous sources from translators online). With each little step Link takes towards success, activating the terminals, the perception Revali has of him shifts from one of resentment to one of genuine admiration and respect. By the end of it all, he is willing to not only cheer on Link during the boss battle, but to trust him with his life’s worth achievement. And once left alone, he admits defeat and lets go of his bitterness, realising that he was wrong to underestimate Link, and later wishes he could’ve had a chance to measured up to him. To take all of this into consideration and work with it in the soundtrack I think it’s genuinely splendid. And for once, I am grateful that it ends in somewhat of a positive note that puts my soul to rest. I still have a hard time listening to the first two thirds of the entire thing, but now I can look forward to a hopeful and earnestly heartening conclusion for all the pain that this composition puts me in. I must admit that it’s beautifully and brilliantly crafted, and that I am enamoured of it regardless.

That is why I wrote roughly 4k words about it! I hate myself!

If you’re as crazy as me about the soundtrack of this game, I recommend you read the published cd interview with the composers themselves! if you haven’t already. I just found it yesterday(unbelievable but it’s true) and… after writing all of this and checking it out, I felt validated. It sure is a one of a kind feeling. 

Alright folks, we’ve made it to the end. Congratulations for sticking around and thanks being interested in my nonsensical rambling! 

I also hope that you, like me, will now be unable to listen to bowed strings without being reminded of Revali. Good luck!

————– Annotations/Sidenotes/Whatever

(*)The Flight Motif(in point number 2) is also present in this track. We can hear it in the background right after the Rito leitmotif, as per usual. It starts with a clarinet, I think, before the strings take the lead. (**) Note that the Flight Motif only comes into play in the Breath of The Wild rendition of the song. (***)I strongly associate this instrument with Mipha, given that it is used in her theme, in every “response” to the initial melody. It can be heard in Attack On Vah Ruta, as well, it enters the scene when the notes Mi(E) and Fa(F) are played. The initial tune, Si and Do(B and C) are played on a clarinet or oboe, wind instruments just like the flute that leads Sidon’s respective theme. The celesta can also be heard inside Vah Ruta, activating the first terminal…. when the song really takes a turn just like Medoh’s. Mipha has nothing to do with the song of this analysis, however. We must understand that instruments, although they are attached to characters/various story elements in some cases, can always be used outside of that context, for that is the nature of an orchestral soundtrack. If you have this many tools at your disposal, you will make good use of them.

[rollflasher]

Another Sonic ramble

So once again I’m here with one of my rambles about my incredibly subjective view of how the Sonic series should be handled! *Beat*

...anyway.

So, one of the more recurring opinions on the fandom is that Sonic games should be written by Ian Flynn, I have talked before about the gripes I have with his writing and why I disagree with this but this post is not entirely about him, but rather a more general topic that has been bugging me for a long time.

The other day I was watching a video speculating about the upcoming Sonic Rangers, there’s not much to write home since it was pretty well made but there’s a particular part that inspired me to do this post and talk about it with other fans to discuss it.

See, at one point the video critisized the fact that Sonic Forces was written by a Japanese writer because they have to re-write the script in English and that can cause problems with localization, and that it would be better to have western writers from the get-go since Sonic’s main demographic comes from there, while making an off-hand suggestion that Ian Flynn could be a main choice. While I can see where they’re coming from, my response was a simple:

‘‘Absolutely, not’‘

See, I have a lot of issues with this to put it bluntly and I’ll try to break them down and explain them the best I can since they’re pretty subjective in nature, but I’m bringing this up because I want you guys to share your thoughts as well.

So, why does it bug me so much the idea of Sonic being handled by western creators?

In my case, the main reasons are because Sonic loses a core part of it’s appeal because of this, the fact that SEGA of Japan seems to have a better grasp of the franchise’s tone and characters and there’s the very subjective point that, in my eyes, American versions of Japanese franchises were always nothing more than dumbed down products of the source material.

To start with my first point, whenever someone talks about Sonic’s creation, a lot of people are quick to point out that our favorite blue hedgehog and his games were inspired by western pop culture and cartoons, and that is true, however oftenly they forget to mention a core thing that not only inspired, but also formed part of the core identity of this franchise.

Sonic is very inspired on anime, and at heart this franchise is a shonen.

(This image by The Great Lange expresses more clearly what I mean)

Generally, the most acknowledgement anime gets on it’s hand on Sonic is the mentions of Sonic being inspired by Dragon Ball, particularly the Super Saiyan, but there’s so much more than that, as Sonic blatantly takes inspiration from Studio Ghibli films specially in games like Sonic 3, which draws a lot of inspiration from Laputa: Castle in the Sky, this great post shows proof that this is not a coincidence.

And it doesn’t stop there, Shiro Maekawa himself has stated that SA2′s story (and in particular, the characters of Shadow and Maria) draw a lot of inspiration from the manga Please Save My Earth.

Even Sonic’s character design resembles shonen protagonists moreso than the main characters of silent cartoons, don’t believe me?

Sure, Sonic has a cartoony anatomy, no one can deny that, but he also exhibits a lot of traits from shonen characters such as spiky hair/quills (?), dynamic posing, a confident, courageous and energetic personality and most importantly, fighting spirit.

If you compare Sonic’s personality and more specifically, his abilities and moves to, say, cartoon speedy characters like the Road Runner, there’s a pretty big disconnection between him and western cartoon characters. Hell, this disconnection is even just as present if you compare him with a character like The Flash from DC.

Simply put, Sonic acts, moves and more importantly, fights like a shonen anime character. He doesn’t just go Super Saiyan and that’s it. Here’s even a quick comparison if necessary.

And this is important because this doesn’t apply just to him, but the whole franchise as a whole and when it takes a more western approach, all of these details are kinda lost or more downplayed, of course this depends on the artists and there’s YMMV at hand, but I think my point is clear.

My second point is...SoJ has consistently proven they have a much clearer grasp on how Sonic’s world and characters are compared to SoA.

Hear me out, yes, Sonic 06 and ShtH exist and yes, SoJ is not perfect by any means. But hear me out...when did the characters start to get flanderized and turned into parodies of themselves? In the 2010s...and when did SEGA move from Japanese to western writers in the games?

Of course it was more then that since there’s a whole tone shift that came with this decade and the new writers, but it’s not a coincidence that when writing in Sonic started to decay, western writers also happened to get on board with the games.

Besides that, SoA has a wide history of not getting Sonic’s tone and characters, from how they made media without much of Sonic Team’s input, to altering how characters are seen in the west. (Such as how they amped up Sonic’s attitude in their media or how the English scripts of the games featured things like Sonic seemingly barely tolerating Amy while the JP scripts portrayed this as Sonic just not understanding girls all that well instead, or for more recent examples, the addition of the ‘’torture’’ line in Forces). Not only that, but even ignoring obvious infamous writers like Ken Penders, even the ‘’best’’ writers from the western side of Sonic are still not above of giving us Pontaff-esque gems.

Like this one.

Or alternatively, I feel like sometimes western writers on Sonic rely a bit too much on their personal vision about Sonic which may or may not be a good thing, clear examples of this are Ian Flynn himself and Pontaff.

By contrast, while SoJ has it’s own share of notorious inconsistencies when dealing with writing (The 2000s era is a big offender), it seems that for them Sonic hasn’t changed much and this is visible not only on the JP scripts of the Modern games which are for the most part better than the ENG ones, but also things like the Sonic Channel comics and the recent one-shots they made with Sonic interacting with the cast show that for all intents and purposes, the Japanese’s staff vision of Sonic is much more clear and consistent compared to the west. Because of this, I’d rather have a good Japanese writer on Sonic games with the localization being focused on being faithful with the original script than have a more western writers dramatically changing the characters. (I don’t mention the tone since either way, SEGA is the one in charge of that and the writers have to follow that)

My last and very subjective point is that, at least for me, everything SoA does with Sonic involving the writing and canon feels like a dumbed down version of the source material. One of the reasons it bugs me so much that in the latest decade Sonic has taken a more western direction is because a lot of what I pointed out gets lost as a result, even if some of those elements are still there, you can tell they’re more downplayed with products like the Tyson Hesse shorts having a more predominant cartoon direction. If any of you have been following my blog for a long time, you should be aware that just because I prefer the Japanese Sonic content doesn’t mean I won’t give the western products a chance, my enjoyment for Mania, the Tyson Hesse shorts and the movie should be a testament of that, but at the same time I can’t help but being sour about the fact that because of these products, we don’t have stuff like a new anime for Sonic or even a serialized ‘’main’’ manga as an alternative for the comics, and my hype for these products is generally more subdued as a result since I’d wish SEGA rather spent that money and resources on more Japanese content than just merchandise.

In particular, because Sonic is a Japanese franchise with a notorious inspiration from anime, what I get from this is a pretty big contradiction. I know Sonic is much more popular on the west but...is it really necessary for his game or products to be handled by western creators to keep their appeal?

For instance, imagine if Dragon Ball’s manga and anime got replaced by western comics and animated series because of it’s world-wide appeal, would that really be the same?

Or imagine the same thing with Fullmetal Alchemist, a pretty aclaimed anime that has a lot of western influence. Would it really not matter at all if it’s Japanese products were replaced with western ones?

At least for me, it wouldn’t.

And what I said about American versions of Japanese franchises being nothing more than watered down versions of the source material? I have that view because of countless examples.

Mega Man and how the English manuals removed a lot of important information about the story of the Blue Bomber’s game and world, causing a lot of plot holes in the process.

American remakes like Godzilla 1998 or Dragon Ball Evolution being an in-name only version of the source material.

Or the many censored anime English dubs from the 2000s, for instance, whenever I see the Yu-Gi-Oh! dubs, I only see a very dumbed down and childish version of a show that was originally a shonen.

And I know that all of these things don’t have to necessarely get lost since every creator is different and there’s franchises like Avatar which are made on the west but draw a lot of inspiration from anime and I’m aware of that, and I want to make it clear that I’m not trying to say that American writers are not allowed to work on Sonic, what I’m trying to say is that inevitably there’s always gonna be some culture dissonance and clash when writers from another culture handle a foreign franchise. And even with examples like ATLA, I think being made by one culture while being inspired by the other is actually a big part of these franchises appeal and it’s something that can’t simply be replicated by handing it to creators from that specific culture they draw inspiration from.

I think James Rolfe’s quote about the same thing with the Godzilla franchise sums up how I feel about this.

‘‘It’s like champagne, anybody can make their own and call it champagne, but unless it’s from Champagne France, it’s not real champagne’‘

So, this last part was very subjective, but I think this post in general sums up why I dislike so much the idea of Sonic having western writers specifically in the games or just focusing more on that side in general.

But what do you guys think? I guess I am too biased so that’s why I wanted to ask for opinions and discuss this topic.

[crusherthedoctor]

Can we have some unpopular Sonic opinions?

I tried to cram in a lot, so I hope this satisfies you. :P I tried to stick to the ones that I haven't brought up quite as often, since by this point, we all know that I think IDW's storytelling is dire, SA2's story is overrated, X Eggman is an embarrassing portrayal (at least from season 2 onwards), Blaze shouldn't be handcuffed to Silver, Shadow's backstory had issues with or without the Black Arms, Neo Metal Sonic looks silly, etc. But anyway, here we go:

- Knuckles may be tricky to incorporate into plots that don't relate to Angel Island, but making him obsessed with his duties is no better than having him forget about Angel Island entirely.

- I like Marine, and never found her annoying. Oh, I understood what they were trying to do with her, but I honestly wasn't put off by her, and found her Aussie lingo more endearing if anything. Since her debut was during the period in my life where where I couldn't stand Sonic himself, I instead thought he was irritating (and hypocritical) for getting annoyed with her for doing shit he would often be guilty of.

- Silver is just as guilty of being shoehorned into games and plots as the Deadly Six are. Having more fans than the latter is irrelevant, since we're still talking about a character who constantly has to time travel in order to be present.

- Speaking of Silver, if he has to stick around, please do something different with him. They've pulled the doomed future routine multiple times now, and it's been boring every single time. I wasn't interested when it involved Iblis. I wasn't interested when it involved Knuckles drinking the edgy Kool Aid. I wasn't interested when it involved a council of dumbasses... give it a rest already.

- The Tails Doll can work as a mildly creepy thing, with maybe more to it than meets the eye when it's time for a boss fight or what have you. But the memes about him stealing your soul are just dumb, and I thought it was dumb even back in my teenage youth.

- “Eggman is supposed to be clownish!” Yeah, well he's also meant to be a genuine villain with a 300 IQ. These qualities don't have to be mutually exclusive.

- “Sonic is supposed to have attitude!” Yeah, well that's not the same thing as being an absolute cunt. Sonic was only ever meant to come off as having an edge compared to Mario. He was never meant to be a GTA-tier protagonist.

- Rouge is not a villain, and never was a villain. Literally the whole point of her role in SA2 was to reveal that she was working against Eggman and Shadow the whole time, albeit using sneakier tactics to do so. You'd think all those people who exult SA2's story would remember this, but apparently not. She barely even qualifies as an anti-hero, since aside from stealing the Master Emerald, she rarely does anything morally questionable otherwise. She's got a lot more good in her than people give her credit for.

- Captain Whisker is a better Eggman Nega than the actual Eggman Nega. And as far as robot characters in this franchise go, Johnny's design is pretty underrated.

- I don't like Iblis or Mephiles, but I DO like Solaris, and it annoys me that it was out of focus for most of the story due to all the time spent on its less interesting halves. Had they kept the backstory with the Duke and his experiments, and worked from there, I think they could have provided an interesting contrast with Chaos (since Solaris can also qualify as a monster with a sympathetic backstory) instead of recycling the surface level schtick.

- Black Doom may technically be just as bad as Mephiles, Nega, Scourge, Mimic, etc, since he's yet another villain with one-note characterization and fucked over Eggman. But because he never gained a disproportionate fandom, he doesn't annoy me to the same extent. It's easier to ignore him by comparison, and his Dr. Claw voice and face shaped like a lady's delicate part make him enjoyable to mock.

- Likewise, while Lyric is also on the same level as these other villains, it's easier to dismiss him because I was never invested in the Boom games anyway, and being an obvious alternate universe (compared to Sonic X or IDW, which retain the Modern designs and plot elements), it never had an effect on the main series. I also unironically like his design, and if nothing else, at least this snake didn't start a hypnotism fetish across the internet.

- Sally - and the rest of the Freedom Fighters for that matter - have had their importance in the franchise severely inflated. They may have been lucky to be the face of popular media (SatAM and Archie), but they're not these magnificent entities that the game characters are but a speck of dust in comparison to. Having a “legacy” doesn't make them more entitled to shit than any other character, old or new.

- Conceptually, the treasure hunting gameplay is one of the better alternate gameplay styles IMO. But it was let down in SA2 by its one track minded radar (the levels may have been big, but I don't think that would have been an issue on its own if the radar was better). If they brought it back and made it more like SA1's treasure hunting, I'd be all for it, although it would probably be better suited for a spinoff title.

- This goes for a lot of games, but when it comes to 2D, I prefer sprites over models. Not that the Rush models are bad (though the ones in Chronicles sure as fuck are), but the sprites in Mania and the Advance trilogy are just so charming and full of character.

- I actually like Marble Zone. Yeah, the level design is a bit blocky, but I love the concept of an underground temple prison, mixed with lava elements in a zone that otherwise isn't a traditional volcano level.

- I also like Sandopolis Zone. Again, completely understand why it's not the most popular zone around, but I've been a sucker for the Ancient Egyptian aesthetic since childhood (you can thank Crash 3 for that), and Act 1 is visually stunning.

- I prefer the JP soundtrack for Sonic CD over the US version overall... but I also prefer Sonic Boom over You Can Do Anything.

- SA2's soundtrack isn't bad by any means - I love Rouge's tracks, and The Last Scene is one of my favourite pieces of music - but as far as variety goes, it's a step down from SA1's soundtrack.

- If Sonic X-Treme had been released, it probably would have been unenjoyable and confusing. Whatever your thoughts on SA1, it was probably the better option between the two as far as Sonic's first legitimate translation into 3D goes.

- I have no qualms with Modern Sonic and the other Modern designs and characters, but I also fully acknowledge that changing gears from Adventure onwards - and doing it with a great amount of fanfare - was always going to create one of the biggest divides in the fandom, and fans shouldn't act surprised that this happened. The fact that they felt the need to hype up a new design and direction in the first place (compared to Mario, who has mostly been the same since the beginning, with only the occasional minor change with little fanfare) also indicates that they weren't confident enough in Sonic and his universe being the way it was, which often gets ignored by all the “SEGA have no confidence!!!” complaints you see with their recent games.

- Unleashed did not deserve the incredibly harsh reviews it received back in the day... but it doesn't deserve its current sacred cow status either. It had more effort put into it than '06 to be sure, and I can respect that, but much of it was misguided effort, and even if you like the Werehog, you have to admit that the idea came at the absolute worst time. The intro cutscene may be awesome, as is the Egg Dragoon fight, but 2% doesn't make up the entire game. Chip was also quite annoying, and I wasn't particularly sad when he pressed F in the chat at the end.

- On the other hand, while Colours definitely has its shortcomings, and people have every right to criticse those shortcomings, a lot of its most vocal detractors tend to have a stick up their arse about the game because people actually enjoyed it, and it had a gimmick that people actually liked. Yes, it may have been the first game to have those writers everyone hates, but then SA1 was the first game to give the characters alternate gameplay styles and have other villains upstage Eggman, so...

- Forces is absolutely not on the level of '06. It's nowhere close. A game being flawed does not make it the next '06, clickbait YouTubers. Or should I say, the game they want to retroactively apply '06's reception to, since they've been trying hard to magically retcon '06's own quality...

- To echo @beevean, ALL of the 3D stories have their issues. SA1 is probably the most well-rounded of them on the whole, but even that one isn't perfect.

- To echo another opinion, although I do love SA1, I'm not crazy over the idea of a remake, and would prefer them to just take Sonic's gameplay from SA1 and work from there. Because with a remake, you're stuck in a hard spot: Do you keep it the way it is bar the expected graphical upgrades, and risk accusations of not doing anything to actually improve the experience? Or do you try to address past criticisms, and risk the wrath of the fans who will inevitably go on a #NotMyAdventure crusade about it? What people fail to consider is that the Crash and Spyro remakes were accepted gracefully because their original iterations were still unanimously beloved for the most part, whereas SA1 - and especially SA2 - have always been divisive, and have only gotten moreso over the years.

- People take their preferences for the character's voice actors too seriously. I have my own favourites like anyone else, but I don't make a big deal out of it.

- And with fandom voice actors, they usually focus too much on doing a basic impression of their preferred official voice actor, and not enough on the acting. So you end up getting a lot of fan voices who sound like decent impressions of Ryan Drummond or Jason Griffith on the surface, but they sound utterly empty beyond that impression, because there's no oomph or depth to the actual emotions. They think about the actor rather than the character, when it should really be the other way around.

- The thing with Ian Flynn is that he is capable of telling a decent story, and he can portray some characters well. But he's proven time and time again that everything will go off the rails if he's given too much freedom (ironic, given how quick he is to point the finger at mandates when something goes wrong).

- Ian Flynn and Shiro Maekawa are not the only people in the world who are allowed to write for Sonic. I understand that one should be cautious when seeking out new writing talent, but for all the fandom's accusations of playing it safe, they sure aren't in a rush to experiment outside of their own comfort zone.

- And of course, the big one: You don't fix the franchise's current problems by crawling back to its previous problems. It's much more helpful and constructive to discuss the good and bad alike with each of the games. Less “THIS GOOD, MODERN BAD”, and more “This could work, but maybe without that part...”

[paragonrobits]

A friend asked me to give a stab at a Tierlist Maker for Video Games Not Yet In the Video Game Hall of Fame Tier List Maker, so here's my list for it!

This is based primarily on what I considered to be overall value to gaming history as a whole, with games with greater influence or impact ranking higher than those that had less impact on those to follow, or on culture. All the entries are those that have been nominated to the Hall of Fame, but not actually inducted as of this post's writing. Games that I personally like are generally rated higher, though mostly because I'm more familiar with them and thus can judge their impact from a personal POV.

(Tier List explainations, below!)

SHOULD BE IN ALREADY

Final Fantasy: I mean seriously. How is this one not already in yet?? It is not, as my research suggests, the first true RPG; that likely goes to games like Ultima. It is certainly an incredibly influential one; FF is a name closely associated with JRPGs in general, and its diverse class system is one of the strongest things to do with it, as noted by challenges like beating the game with a party of Black Belts. FF is THE name of RPGs in general and I'm startled it hasn't made it in, though I suppose that's owing to more notable entries (Hard as that is to imagine). It doesn't hurt that the majority of my favorite FF titles are those most similar to this one, such as FF6 and FF9, in terms of approaching the general world setting and class systems. Most significantly is that this game popularized RPGs and made them accessible, in ways that previous games such as Dragon Warrior/Dragon Quest did not; the field of gaming would be VERY different without it; RPGs became VERY popular, to the extent of RPG elements being almost universal among other games in the modern day. (I am also pleased and amused to see 8-Bit Theater mentioned on the actual Wikipedia page. Now THAT'S notability!)

Sid Meir's Civilization: HEY NOW HALL OF FAME JUDGES, DON'T YOU BE MOCKING CIV, ALRIGHT. CIV IS FUCKING AWESOME. Okay, jokes aside, I'm genuinely astonished as the Civ series is considered the first true main game of the 4x series, and it shows; the entire genre centers around expansion, resource usage and diplomacying or conquering your enemies, and considering the impact of this game and its sheer popularity, to the extent of the meme of the game getting people to play for Just One More Turn, I'm a bit disappointed that it's not already in the hall of fame. I also note that I am personally more familiar with the spin off Alpha Centauri, a sci fi variant, which is still one of my all time favorite games.

Half-Life: Given this game's popularity, to the point of its release alone consigning the likes of Vampire the Masquerade Bloodlines to cult classic status and its engine spawning a whole THING with GMod and the usage of physics mechanics in FPS games, one thing of note is its use of scripted sequences; at the time, an unknown in most games of the time. There may be something to be said for how the entire game is spent as Gordon Freeman, behind his eyes, possibly engendering a lack of separation between self and character that would be later emphasized in games like Bioshock. It's influence on games cannot be denied, with publications using it as a bookend between eras of gaming. One consistent element of what seems to make this game so distinctive is its approach to storytelling, without simply imitating film techniques which don't always work well with gameplay.

Candy Crush: This is an example of something I don't personally play myself, or even like very much, but I'd be remiss to dismiss it out of hand. There's no denial that phone games are one of, if not THE biggest market of games in the here in now; if now in scale, certainly in quantity. You might call it the TF2 Hat Economy theory; people aren't spending BIG bucks, but they are spending a LOT of little bucks all the time. It proves that highly accessible games that are generally free to play, with optional purchases, are a legitimate means of game business, and this certainly revolutionized how games were seen by the money-makers.

Super Smash Bros Melee: I loved this game as a kid, but truth be told i have a bit of a love-hate relationship; i REALLY dislike the competitive community that has fixated hard on this game, so any thoughts on it will have a slight element of pause beforehand. Even so, I can't forget the thrilled delight I felt watching the trailer for this game in supermarkets for the first time as a kid. at a time when getting any new games at all was a HUGE deal in my family. So, there is a lot of feeling behind this one! Ultimately, I have to concede that while i have complicated feelings about this game, its worth noting that the vast majority of things that made Smash iconic, and influenced the competitive scene AND the games inspired by Smash AND shaped the course of the series going forwards, largely owe themselves to Melee in particular. 64 was far more slow paced, while Melee began the trend towards much more fast paced action (and while I doubt it's SPECIFIC to melee as a whole, it may have been a trend for the genre from then). Melee is STILL widely played, especially on the competitive scene, and this sort of longevity always bears evidence of notability.

Goldeneye 007: I have to admit that despite being a kid in the 90s, despite someone who put most of their time into gaming, and despite being someone whose favorite system at the time was the Nintendo 64, I mostly missed out on the trend of history by honestly not being that much into this game. I have to say that I DID play it, however; I just never managed to get past the first level or so. I have strong memories of triyng and failing to sneak around a snowy lair of some description; it wouldn't be until the mid-2000s, playing Deus Ex Human Revolution, that I got the hang of stealth. All the same, personal indifference really doesn't matter much because HOLY SHIT THIS GAME HAS SOME STAYING POWER. IT HAS INFLUENCE, FRIENDORITOS. Perhaps chiefly, at the time it was made, consoles were not considered viable platforms for first person shooters; Goldeneye revised that notion, and created a whole revolution in multiplayer and shooter games. We would later see the ultimate consequence of this in games like Halo, which further revolutionized the whole genre. Ironically, the stealth attributes I was so bad at were part of what made the game so unique! It's one of those games that may not have aged well, by modern standards, but its import to gaming as a whole goes a long, long way.

Guitar Hero: I expect this one might be a bit hard to justify, but on its own, this game is INCREDIBLY innovative, though its not entirely the first of its kind, having mechanics based on earlier games. The very first entry has a respectable library of 30 songs, which is impressive considered at the time it was made, its not likely people expected it to get as far as it did; bear in mind that the massive libraries of later games were the result of years of this game series being a massive steamroller of a franchise! At the time, this one was an unknown. It has an interesting history as being a successor of sorts to an arcade exclusive, and inspiring a genre of imitators and spiritual successors on its own; of great note is the sheer impact this game had. With so many of those successors, the increased value of liscened soundtracks, and the way the game's concept became so influential, its astounding this one isn't already on the hall of fame. (It's also very fun, but fun alone doesn't make for memorability, sad to say.)

DESERVES IT AT SOME POINT

Myst - an iconic and incredibly atmospheric puzzle game, I'm genuinely surprised that I haven't heard talk about this one in some respect; it bears note as a rare game with absolutely no conflict whatsoever. I actually rank this one on par with the 7th Guest in terms of atmospheric games, though their tones could not be more different. So why do I think this game deserves it at some point? It was an incredibly immersive and beautiful game, lacking in genuine danger or threat, encouraging the player to explore and tackle the puzzles of the game. This sort of open-ended lack of peril makes it an interesting precursor towards certain flavors of sandbox games around now. It's worth noting that it was a tremendous achievement, given technical limitations of things such as the CD-Rom it was stored on, maintaining a consistent experience, as well as tying narrative reasons into those very constraints. It has been compared to an art film; if so, it certainly is the sort that invited imitators and proved to be a great technical achievement.

Portal: PORTAL! What can I honestly say that hasn't already been said by other people? The amazing integration of a physics engine into innovative puzzle solving, combined with a slow burn sort of minimalist plot reveal concerning the AI proving itself to be a kind of reverse HAL 9000? This game got a HUGE number of memes back in the day, and I expect anyone reading this can probably reference a few. The cake thing, certainly, and its relevance to matters of deception. There is much discussion over the game's utility in academic circles, which is certainly quite notable, and for my part, I'm interested by the point that at first the game gives you a lot of hints towards what you're supposed to do, gradually making it less obvious for the player you're on your own entirely, using your experience with the game to get past the puzzles from there, and its excellent game design. Ultimately though, I place this below Half Life in hall of fame urgency, because while I probably like this one more, it doesn't have the same impact on other games, per say. (That's a lot of awards for it, though. Wowza.)

Resident Evil: Is it fair to call this one the major survival horror game of its era? No, because it's apparently the FIRST, or at least the first to be called such. It's certainly up there with shaping the genre as a whole, both its immediate predecessors and modern games. The flavor of a survival horror can even be judged about whether its close to Resident Evil's style of defending yourself with limited resources vs controlled helplessness. It's also worth pointing out that I quite like the restricted, cramped setting of the mansion, rather than an expansive city; Biohazard was a real return to form, even if its something I mostly watched through funny lets plays because OH NO ITS TOO SCARY I CANT WATCH.

Asteroids: It's called the first major hit of the golden age of the arcade. I'm forced to say... yeah, it absolutely deserves it. The actual implementation and hardware of the game makes for interesting reading, and so its innovative nature ought to be noted: it lacked a soundchip at all, making use of handmade circuits wired to the board. It's reception was great, beating out Space Invaders and needing larger boxes just to hold all the money people spent on it. It also invented the notion of tracking initials on the top ten score, which has implications for arcade challenges.

Ms. Pac Man: This one consistently ranks HIGH in gaming records of its time, though there is admittedly some confusion to whether it or Donkey Kong was a better seller. Interestingly it appears to shape most of the gameplay mechanics people remember most for Pac-Man, such as the improved AI of the ghosts. It's more highly regarded than the original game, and on a personal note, I remember being a kid and seeing this arcade machine at ALL the laundry places my family usually wound up going to.

Frogger: It's placing on this list is not solely because CUTE FROG. The accessibility and wide appeal of the game bears a great deal of consideration, the flexibility of its formula, and just how many dang times it's been ported in one form or another. (And also, cute frog.) It also gets points for the creator being inspired for the game when he saw a frog trying to cross a road, hampered by the vehicles in the way, and he got out of his car and carried the frog across the street. The game is also evident of broad appeal, and some money-makers resisting it, goes back a long way; it was apparently dismissed as a kid's game by some, which just goes to show that some problems are older than quite a lot of gamers alive today.

Uncharted 2: this is one of those games where I cannot honestly say I have personal experience to draw from. Of the playstation's big games, I remember the Jak and Daxter series; I remember Kingdom Hearts, and I remember Ratchet and Clank, and I remember Infamous, but the Uncharted series remains

something of a 'I don't go here?' obscurity in my personal playbook. It does look memorable and charming from what I've seen, and one consistent element I've seen in comments about it is the cinematic nature of the game; it feels very much like a fun heist movie, based on what I have seen of it, and the notable thing is how the game FEELS cinematic.. in a literal way. As in, it combined elements of cinematography with game design, and that's no mean feat: what works for movies are unlikely to translate well to the interactive side, and it shows how that can be done for other games. The extensive praise does the game a LOT of credit!

WORTH NOMINATION AT LEAST

Angry Birds: As noted before, I'm not the biggest fan of most phone games, given that i prefer a more passive experience than most provide. As such, Angry Birds isn't something I've played as of this writing, but I have to appreciate the straightforward and simple gameplay; it reminds me a bit of the Burrito Bison game series, which I HAVE played, and I'm going to go out on a limb and assume it's because Angry Birds is probably the innovation that coined that particular style of gameplay. It's an example of what made phone games profitable and worth the time of developers to work at them; its easy for casual players to get into, and there's a fun sort of impact involved. Given the popularity of phone games, this one has a LOT of influence in getting that rolling, similar to candy crush, if not as much.

FIFA International Soccer: Simulation games are a tricky business; it can be really difficult to get them right, and this game provides an example of it being done in a way that a lot of people REALLY loved, set up an entire game series, and revived the 3DO system after a very bad year. Of note, apparently it was commented that it was more of a simulator than a console game, and this is rather funny considering how simulator is its own genre nowadays! Such do things change. It seems to have been a revolutionary game and simulation; setting the shape for modern sport games of its type, and tending more towards realism (accounting for acceptable breaks in reality) than was typical of the time. This one's position is thus picked for its impact as a whole; while it may not necessarily be a household name now, the series continues on, and is popular enough that even after 20 years, it's still been going.

Elite: I nominate this game in this position for being a startlingly early entry into what we would now consider open-ended games, even with an element of exploration and trading; if one stretches definitions a bit, a precursor towards gameplay of the like scene in 4X players who strive to avoid conflict, if possible. Its technical breakthroughs are some very interesting reading and make for good game history; a vast and complex game (not just by the standards of the era, either), and opening the door for persistent world games such as World of Warcraft.

Wii Sports: A significant game, and much as how other titles mentioned above were famed for gateway entries into gaming for an unfamiliar audience, or those that would want o play on a more casual basis. It seems notable to me for being most suited as a family game, or a more casual experience of multiplayer than usually associated with games like this; this has greatly influenced Nintendo's design philosophy, and one can see elements of this all the way through the Wii U onwards. It's essentially a fliparound from Mario Party; less competitiveness, but definitely meant as a group thing. Controversy is evident, because like with Mario Party, injuries did result from it.

Call of Duty: I place this one here because, while it DOES hold a very significant role in gaming history, with countless imitators, spiritual successors, being a game-changer in ways that its modern reputation might surprise you with, ultimately it is less so than other games such as Goldeneye, Halo or Half-Life. It's development in AI pathfinding and tactics is incredibly noteworthy from a mechanical perpsective, and the sheer level of awards it won is notable. In the end this game's popularity and continuing influence means that it shouldn't be overlooked.

Metroid: You can't spell 'Metroidvania' without this game! A relatively open ended exploration-based game with further options opening as new tools were found give it an interesting vibe, and the oppressive atmosphere distinctive to the game says great things about its sound and level designs. It wasn't the first open world game, or explorer, or even the first to open new aereas based on equipment, but it had ALL of these elements in a very memorable package. (Samus Aran as a female protagonist is something I'm a bit reluctant to give it credit for, as her identity was obfuscated for most of the game, and only revealed in a fanservicey way in a secret ending. All the same, credit where it is due, I suppose!) It's music seems to endure as a mood setter, too!

Pole Position: Perhaps not the FIRST racing game, but still considered one of the most important from the golden age of gaming, and the one to codify many of the firm rules of the game series. It's three dimensional gameplay is incredibly innovative for its time, and having played it and games like it in the past, I'm struck by how smooth the whole thing feels. No wonder it was popular! It is notable for having been designed specifically as a 3d Experience, meant to execute techniques like real drivers might attempt, which makes it a different sort of beast in that it tried to do more realistic actions; in some ways, a precursor to modern trends of realism in many games, for ill or best. Ultimately I think this one is worth a nomination because of its influence towards racing games (a popular and long lived genre, to say the least) as a whole.

OUTSIDE CHANCE

Nurburgring 1: On the one hand, I feel a bit guilty putting this one so low; it is recognized as likely being the earliest racing game in history, and given that I just finished noting Pole Position's influence, it feels a bit mean to rate this one as relatively insignificant all the same. However, in terms of notability, I never even heard of this one, and it was tricky finding information about it. Accordingly, that may say something about its influence, though this position DOES make it noteworthy as the first of its kind, albeit with Pole Position refining and introducing elements that shaped the genre.

Dance Dance Revolution: It feels a bit strange, putting this one fairly low. This thing was a MONSTER back in the day; entire arcades were built around the dancing control peripherals it required, rhythm based games or mechanics specifically invoked it by name, and it was an absolute cultural touchstone for years and years. So, why place it low? Partly, its because I can't just shove EVERYTHING into the 'deserves a nomination' folder; I do think it's fairly reasonable for this one to at some point get a nomination in the future, though ultimately there's games more noteworthy on the whole. It's specific rhythm qualities continue outside of its genre, and are quite influential to gaming as a whole, though unfortunately the series seems to have lost something in notability over time; popularity is a factor, but so is the impact on other games.

NBA 2K and NBA Jam: I put these two together because they touch on similar touchstones for me, and they really did popularize basketball games back in the day. Jam in particular seems to be invoking the Big Head mode that were a big thing in games at the time, at least going from the screenshot. They were very popular and highly beloved games back in the day, though I don't know if they have much influence on later games. I note that interestingly, they take opposite approaches; 2k focuses on AI and realistic experiences, while Jam was deliberately less realistic and more actiony in its over the top gameplay.

Nokia Snake: This one really impresses me for the sheer number of releases, in various forms, it's had! Interestingly, there seems to be little consensus on the name of this game; most just call it Snake or something on that theme. I went with Nokia Snake because... mostly, it sounds funny, and that's how its done on the list. This one is fairly low, but I Have to give it credit for having hundreds of releases!

Farmville: My mom liked Facebook games, a lot. And I am certain this one was one of her main ones! I rate it fairly low, and no doubt her spirit is yelling imprecations at me across the void of time, space, and abandoned socks; all the same, this one is ranked low because of the sheer number of displeasure aimed this one's way. (And to be fair, she complained about it. A LOT.) It is thus notable for unusually negative reasons; an example of exploitation, pressuring players to pester their friends to play it in an equivalent to electronic chain mail, and microtranscations.

Tron: I'm inclined to give any game that takes place in a computer land and uses programming or mechanical terminology a free pass! Interestingly, this has some association with the Snake game, as they have similar gameplay and Snake games are sometimes called Light Cylce games, after this one. It has an interesting history; the graphical system was chosen largely because it was believed it was more likely to be achieved before the deadline.

NO BUSINESS IN THE HALL OF FAME

Mattel Football: I do feel a little mean putting anything in this category; firstly because I don't want to make actual fans of something sad, and secondly because I believe you can probably find notability anywhere you look, if you are inclined. And here is the chief difficulty with this one: I could not find any real information in this one. It has no Wikipedia page, a google search only led to undescriptive links of SALES for the game, but not any information on the game itself. Notability is my main resource for sorting these entries, and honestly? If google has nothing on you, that's a pretty poor sign. Sorry, Mattel Football, but you look like a poor man's Game And Watch. You're no Portal, Myst or Pole Position.

[curedigiqueen]

So while I was working on my… analysis I suppose, on why Digimon Adventure: does not work as a show, it occurred to me that despite claims that Taichi in Adventure: is inspired by V-Tamer Taichi, his partner is an Agumon whose final evolution is Omegamon, and why that doesn’t work. But I realized that it is a point that I could expand on, and so I have separated it out here. Consider it a preview.

The protagonists of Digimon V-Tamer are Yagami Taichi and his partner Zero, a Veedramon. The story is carried by these two alone. While others help and hinder them on their way, their mission is theirs, and the responsibility of defeating Daemon belongs to no one else. It is with that power that they reach their highest form, UlforceVeedramon Future Mode While Taichi is the main protagonist, Zero is just as much a protagonist. Their names, even reference binary. While there are other characters who impact the plot, the role of protagonist belongs to these two. 

This is echoed in the themes of Digimon Adventure:, the digivice in the title supposedly representing the bonds between human and digimon. And, while I don’t think it particularly succeeds, I can see clear attempts to be made to make the digimon partners their own characters, equals to their human partners. 

But yet, Digimon Adventure: uses Omegamon as Taichi and Agumon’s final evolution. And that is a bit of a problem. Digimon Partners are not interchangeable. Well, okay, the species are a bit arbitrary, all things considered, (after all, Zero’s rookie form is also Agumon) but the problem is what UlforceVeedramon represents vs. Omegamon. 

In Digimon Adventure, Omegamon is not Taichi’s power alone. Not by a long shot. Taichi is not the solo human protagonist of Digimon Adventure. Even in the first film, before Hikari was even meant to play a key role in the series, she shared the series debut. Regardless, the burden of defeating Apocalymon is not his alone to bear. And Agumon’s evolutions reflect that. WarGreymon is reached through borrowing Hikari’s power. Omegamon is literally formed by WarGreymon and MetalGarurumon (who was formed by borrowing Takeru’s power), but in reality is born from the power of hundreds of people reaching out from across the world. And perhaps even Taichi’s crest of Courage is not something that belongs to him alone. As Yamato puts it, “It’s everyone's Friendship”. Though Taichi best embodies courage, the courage he wields is not his alone. Even tri. which I usually avoid using as an example, has Omegamon Merciful Mode, which very explicitly draws from the other children’s partners. Adventure’s Taichi’s not strong because he himself is powerful. Really compared to Hikari he seems rather unimpressive on his own. He’s strong because he is able to easily act as a receiver to others powers, a trait that is fitting for a leader. Because that’s what sets Adventure Taichi apart from his peers, he’s a leader.

Note, that I didn’t really bring up the partners in regards to the discussion of Adventure, not that they aren’t important, but that they aren’t a driving factor. Digimon partners are something vastly different in Digimon Adventure. They are reflections of the children’s inner selves. For straightforward characters, like Taichi, his partner Agumon is very much like him, and for characters like Sora, Piyomon seems very different. This isn’t to say that the digimon are simply their partners, Tailmon went through quite a bit on her own. But nevertheless, Tailmon is the way she is, because Hikari is the way she is. 

Digimon Partners and their evolutions are not things that are just assigned, and given. They are things that arise from the circumstances. Omegamon is there because the themes and circumstances make Omegamon the most appropriate "Ultra”. This is true both in and out of universe, who can forget SkullGreymon? SkullGreymon isn’t wrong. It’s just not the evolution that fits Taichi and Agumon’s situation.

And here’s the thing. Digimon has done the whole focus on “Bonds with Partner’s” before. That’s Tamers. And in Tamers, the final evolution was born from a human and a digimon literally coming together as one. The final episodes all appear somewhat humanoid as a result, particularly notable from WarGrowmon to Gallentmon. Because that was what evolutions were needed narratively and thematically. Otherwise, we have Megidramon. And guess what, the Adventure timeline also has a movie in which the focus is on the bonds between human and friendship, and lo and behold. In Digimon Adventure Kizuna, Agumon (Bond of Courage) and Gabumon (Bond of Friendship) were born. Born from the bond between human and digimon. They even use the “looking like humans” idea from Tamers.

Interestingly, Kizuna came right before Digimon Adventure: started. 

Now, I am really advocating for the Bond forms to be used in Adventure:, those forms were something special to that timeline. But that’s just the thing. Many evolutions, whether unique digimon or not, are brought about by circumstances unique to that timeline. Look at 02’s usage of Armor levels, Frontier's Hybrids, and Xros Wars' Xros mechanic. It’s not new for later seasons to take these Digimon that have existed in these specific circumstances and use them generically later. It would, after all, be a shame to put all those good designs to waste. But at the very least, the evolutions of the main cast are carefully chosen, created if need be, to fit the show.

And that creates a problem for Adventure: as a reboot. It is pulling from the evolutionary lines of its predecessor, despite aiming for different themes and using an entirely different world and characters, and in the process the meaning behind the evolutions has been stripped out. While it has been able to throw in additional evolutions, most of those are well within the confines of precedent: Armors and Ultimate’s that are already related to these evolutionary lines. Adventure: is trying to be a show that, as a reboot of Adventure, it cannot be. Adventure: spends so much of its time screaming that it is not the original Adventure, while simultaneously dragging in call backs that it loses any sense of identity.

The enemies they fight are not Taichi’s responsibility alone. These kids have to have crests. Agumon must evolve into Omegamon.  Angemon still has to die, HolyAngemon and Angemon have to mean something. Tailmon has to be Adult, and has to have been evil. Hikari and Takeru have to give their brother’s power. Omegamon still has to appear. . They still go to summer camp, and Taichi still fights Parrotmon. 

Note, that this is far from Adventure:’s only problem, however I do think it illustrates a large problem that affects the way certain elements and characters are used in this show. Taichi is a solo protagonist, but his “Ultra” is still Omegamon born of Yamato, Takeru and HIkari’s influence. Mimi is now a bossy rich girl, but her crest is still Purity. Yamato is a loner who doesn’t overly concern himself with others, but he’s still Friendship, and still Takeru’s semi-estranged younger brother. 

When Adventure: manages to work a new angle into the old mold, it works well. Yamato’s focus on his friendship with Gabumon works well, and various side characters work alright. Resolving the conflict over Tailmon’s Ultimates by using both for separate things and bringing in Goddramon is a great idea. But more often than not, it doesn’t. Properly contextualizing what a holy digimon is is great, but Angemon’s death is awkward, and Pegususmon’s presence smooths over the issues of Tailmon being champion and keeping Angemon special in an awkward way, refusing to address what an Armor is. Because they are trying to write a story around a set of evolutions they are required to have while absolutely refusing to be Adventure where it matters. Leading to the awkward mesh of Adventure elements and characters, with themes and stories that they were never meant for. 

If Adventure: was meant to be about the bond between Taichi and Agumon, Omegamon was never going to work, including the concepts of crests, was going to muddle things at the very least, and including 7 whole other partner pairs who are going to require at least a few episodes of focus a piece was not going to work out. It’s not that we couldn’t have had more focus on Taichi and Agumon within a reboot and their bond, or that the idea of Taichi and Agumon (or any other pair), activating an evolution because they are in agreement on a concept isn’t a good idea. Just an understanding that this primary focus wasn’t going to work because Adventure in its very concept has a lot of characters that need some degree of focus. Savers with its heavier Masaru focus and use of shonen tropes, dials back the number of “main” characters to half that of Adventure, because it is built around its premise. That unless they were going to be bumped down to secondary, recurring characters, this was never going to work, because that’s not how Adventure’s concept was intended. To tell a new story, it needed to have dropped a few more of Adventure’s elements. But to do that would be to essentially admit that this isn’t Adventure at all. Adventure: needed to have evaluated what story it could tell with what elements it was required to include.

Anything goes in Digimon, and Adventure: seems to want to make the most of this, using armors, Hybrids and Xros Wars digimon with regularity. But you can’t build a cohesive narrative simply by plucking your favorite ingredients and sticking it in a pot. Some things just don’t go together. You can’t take the ingredients to make bread and make a salad. But in short, V-Tamer Taichi and Adventure Taichi aren’t interchangeable. They are two different characters because they are designed for two different stories, and their partners reflect this. Adventure: was doomed from the start if it didn’t realize this. 

[lady-griffin]

Who do you think will Katarina end up with?

Geordo

There are several reasons for why I think this. 

He is the male lead and is considered in the character introductions at the beginning of each Light Novel, to be One of the TWO leads, while the rest of the cast are divided up as secondary to minor characters.

This is how the characters are introduced in the Light Novels 1-5.

Katarina and Geordo’s character introductions are untouched for the most part from novel to novel. But the way the other characters are introduced with each novel changes bit by bit.

From Alan and Keith being marked as secondary characters in the 1st novel.

To Alan, Keith, and Nicol being marked as secondary characters in the 2nd novel.

To the entire Harem (minus Geordo) being marked as secondary characters in the 3rd novel and onwards.

Now I don’t know the characters introductions beyond the 5th novel, but I highly doubt that they have changed that much or if at all.

Katarina and Geordo are clearly marked as being equal in character importance – the Female Lead and the Male Lead.

Though, in the actual events of the story, Katarina is clearly the MAIN character while Geordo is just one of the many characters who is rotating around her.

--

Geordo is the first character who we truly meet in the story (excluding Katarina). Signifying his importance to the story as a whole. 

Not only that, but he is only the first character introduced as a romantic interest 

OG Katarina immediately falling for him

Geordo proposing to Katarina

Geordo and Katarina being engaged

As well as the first Doom Flag -

Katarina realizes she’s in the game of Fortune Lover because of Geordo’s name and the fact that their engagement story is the same as from the game. Because of that, we learn what that actually means for Katarina who is the villainess of the original story. Or at least, what she thinks it means. 

--

Being a romantic interest and a doom flag is a character position solely unique to Geordo and Keith.

While every now and again, Katarina will bring up that Maria, Alan and or Nicol are potentially “dangerous” to her and thus people she needs to keep an eye on for her safety… in all honestly, they’re really not. 

Honestly, it kind of feels like the author(s) forget that the other characters could hypothetically be a ‘threat’ to Katarina and remember it randomly at times, and thus just insert it into the story. 

Geordo and Keith are the true “doom flags” for Katarina. And even in that regard, Geordo and Keith are treated somewhat differently from one another. 

Geordo’s role as a doom flag, is given a lot more attention than Keith as a doom flag. Now Katarina will insure her “safety” by telling Keith that she will never stand in his way of him being in love with someone, but that’s about it, as the years go on. 

Katarina practicing her magic and getting stronger in that field to avoid being killed by Keith, is basically dropped as soon as it’s mentioned. As Katarina’s magic is quickly established as being weak, no matter what she does. So, that aspect of the story is a bit forgotten as the story moves forward.

But really, I think that even Katarina realizes that Keith as a doom flag is basically a neutralized threat, because of their close sibling relationship.

Geordo on the other hand, is still treated as a Doom Flag. Essentially all of her plans of escaping her doom, are basically plans that focus on Geordo turning on her and how to escape him specifically. Her snakes and even her sword-fighting (which is brought up less than the snakes).

So, one of the main premises of the story - the romantic and comedic tension of Katarina thinking her love-interests are potential doom-interests for her – is largely dominated by Geordo and Katarina’s relationship with him.

Though Keith is a close second in that regard. 

--

Rivalry 

While everyone is a rival, Geordo and Keith are the two main rivals (especially in the Manga).

We see this with their constant passive aggressive fighting and commentary towards one another, as well as being essential and core elements to the whole Harem and its dynamic.

Now, depending on which medium your engaging with, there are very strong arguments for Maria, Mary, or Alan being a third main rival character or if not that, at least being at a higher level than the others.

Maria

Maria is the original MC from Fortune Lover and is essential to Katarina’s fate…or at least in Katarina’s mind she is. That alone separates her from the others Harem Members. 

Maria is also marked a being different the the rest, by being the newcomer to the Harem, and her and Katarina’s relationship (friendship and more) is a factor to the overall story. 

All of that marks her as being if not a main rival, then certainly higher than others. 

Mary

Mary get in the thick of it as much as Geordo and Keith do (especially in the novels). She is a constant thorn and wrench to Geordo and everyone else, but mostly Geordo.

Alan

Alan, because of his character design and popularity among fans, he gets leveled up and is given more attention as the story continues to progress and the anime clearly cements him as a main rival.

As shown in Vol 5. Geordo is the main rival to everyone and they’re all separated into groups into what their roles are in regards to breaking Geordo and Katarina’s engagement up and keeping them apart.

While really for comedic sakes, Geordo being the biggest opponent to everyone does, to some degree, tell us about his chances with Katarina (or at least I think so).  

--

Kiss Scenes (LIGHT NOVEL SPOILERS BELOW)

In Novels 1-5, there are essentially 8 kisses that Katarina receives from the other characters (on her hand to her lips).

Out of these kisses, Geordo is the partner 6 times. Out of these kisses there are 3 pictures, that while not depicting the kisses themselves, do depict the moment just before. All of those pictures depict Geordo’s kisses.

Hand Kiss – Geordo (Vol.1)

There is a picture depicting the overall proposal scene, but not Geordo kissing Katarina’s hand or him about to.

Neck Kiss – Geordo (Vol.1)

There is a picture of Geordo hugging Katarina as they dance, right before he kisses her, but I didn’t really think it counted.

Water Kiss – Geordo (Vol.2)

This is absolutely a kiss scene. You can debate whether it’s CPR or something else, but the way it’s treated in the context of the story - it’s a kiss scene. Simple as that. 

Neck Kiss 2.0 – Sora (Vol.3)

No picture.

Retaliation Kiss – Geordo (Vol.3)

No picture.

Confession Kiss – Geordo (Vol.3)

Basically, Katarina realizes that Geordo has romantic feelings for her in this scene. While she initially thought his Retaliation Kiss was just a dream of hers, a dream she was very flustered by, she is now more than aware of what is happening.

Waking Up Kiss – Keith (Vol.4)

Keith wakes up from his own Dark Magic Coma (so to speak) and thinking Katarina is just a dream, he kisses her, much to the shock of Katarina. 

No Picture.

Retaliation Kiss 2.0 – Geordo (Vol.4)

Upset that Keith kissed Katarina in the “Waking Up Kiss”, Geordo also kisses her. 

This scene in particular, especiall with the picture, I think really cements Geordo as the one who Katarina will end up with. 

Simply because, Keith just kissed Katarina and there was no picture depicting it even though it happened a few moments/pages ago, but yet Geordo’s kiss (or about to kiss) is depicted. So, to me, this seems very telling.

 -

[Update] Originally I brought up how Nicol kissed Katarina in Vol.8 that also had a picture depicitng the scene...but that was inaccurate. There is no kiss scene between the two in that moment.

Any others, I have no idea about. 

I’m just going to stick to the novels I have read up to this point. 

So, let’s get to my main point. Out of the 8 Kisses Katarina receives, in Volumes 1-5. It’s very telling to me that Geordo is the one doing the kissing 6 out of the 8 times. Plus, in the the first 5 Volumes, the 3 kisses that are depicted are Geordo’s.

--

In Ch. 17.5 we have our first bonus chapter, which gives us a special look into Geordo’s feelings for Katarina. So far, Geordo is the only one who has received this treatment. 

Now that doesn’t mean others won’t, but I personally think that chapter is very sweet and romantic, so given that it’s Geordo’s chapter is another point for him.

In case, you somehow didn’t know, I love Ch. 17.5

--

Finally given how the story was supposed to end at Vol 2.

It’s very interesting to me that the last chapter, is from Geordo’s POV. We get to see his view on their relationship and his feelings for Katarina, as well as the water kiss scene.

Geordo gives a brief summary of each of the characters. More importantly he thinks about how is not pleased that everyone else is in love with Katarina and how he might lose her, but he does admit that he’s okay with things staying like this for awhile longer. 

Largely because Katarina is so happy.

--

I genuinely do think Geordo has the best shot of ending up with Katarina out of all the characters. 

Now whether I think that because I ship him and Katarina or whether I ship Geordo x Katarina because I think he has the best chance  is difficult to say. Probably both. 

Thanks for the question! :)

[w2hazbin]

What makes Alastor so darn charming.

There is something very charming about bad guy characters, especially in cartoons. We learn to like them even though they are a threat to the actual hero of the show and we feel possibly a tiny bit bad about them getting defeated.

But in Hazbin Hotel, we get a bad guy who is on the heroes’ side due to shared interest, meaning that we don’t have to worry about who we should root for.

That is one of the many things that makes it so easy to fall in love with the Radio Demon who is most likely the most popular character in the show about the princess of Hell trying to redeem sinners.

What else makes this character so darn charming?

For starters, he is cheerfully evil.

Alastor doesn’t hide the fact that he is an evil piece of shit to win someone’s trust. In fact, he revels in letting others know how much of a bastard he is. The very first thing he says when he meets Charlie is that he enjoyed watching her make an ass of herself on live television AND that he thought that the stock-marked crash in 1929 was hilarious. But Alastor doesn’t have to let you think that he might not be such a bad guy. He WANTS you to know that he is the absolute worst, which is exactly the reason to why you would want him in your corner. So he has no restrains, he walks and talks as if he owns the place and treats people around him as he please with little to no respect. He is so much of a prick that you simply HAVE to love him:)

What I think make Alastor unique as a powerful demon character is the fact that he is old, but not ancient. See, Alastor has been in Hell since the 30s(roughly 80 years) which is a long time. But not really that long when you are a POWERFUL demon. Then you would expect him to be from the medieval period or at least the 19th century. So he is a relatively “young” demon who still has the status of overlord.

So Alastor is not ancient as such, but he is still of age since he is named after a piece of technology that still exists but is hardly used anymore; the radio. He has a radio theme with his easy to recognize voice as well as his microphone cane and even his fancy suit has elements of an old-timey radio. It could be argued that his monocle is part of the radio look since noises can be heard when he adjust it, as if he adjusts the button on an old radio. And the fact that he is so elegantly dressed gives him a retro feel that is to die for.

And let us not forget his smile.

Alastor is always smiling. Usually his smile is cartoonish and goes from one ear to the other. It is his philosophy that smiling is a sign of strength since you that way can look confident and possibly hide “weak” feelings such as anger, fear and such. His smile is an important part of his fun design, and he smiles in more than one way that can even give us a slight impression of what he might actually feel at specific moments.

But his smile can also be rather unnerving, downright creepy or intimidating. You can do a lot with a character who only smile since there are smiles and then there are smiles.

[soldouthaz]

hi!! these past few months i’ve gotten several asks about all different parts of my writing process and i thought i’d go ahead and make a full post that i can refer people back to in the future! with the fests coming up as well hopefully it may help someone because i know i always love reading about author’s processes! feel free to let me know if i’ve forgotten anything :) 

DISCLAIMER: this is MY writing process. these are my own opinions and maybe not methods that will work blanketly for everyone. writing is different for every person and you should always do what works best for you personally! 

this post will be split into four parts - before, during, after, and other tips and things to remember :)

inspiration & idea 

this is typically either the easiest or the absolute most difficult part of writing a fic. sometimes you begin with an exact idea and other times you want to write but have no idea where to start. personally i tend to draw inspiration from a few places in particular. writing prompt and dialogue blogs, although sometimes a bit cliche, are a huge help when trying to come up with ideas for scenes and outlines. these are some good ones – here, here, and here if you need some inspiration! pinterest and weheartit are also great places to search for inspiration both before or after you’ve settled on an idea. find an aesthetic you like and base the characters around it, do some world-building, create folders for your characters - this is a good place to reference back to while you’re writing! at this point i just try to pick something that i feel like ‘calls to me’ and leave the rest for later. the last avenue that i use to think of fic ideas is real life. i think of small things that have happened to me or to someone i know and make them much more dramatic and layered. add in some fluff or angst or whatever aspect fits and usually a storyline begins to carve itself!

outline 

once you have an idea, making an outline can help you figure out if it’s going to work for you or not. nailing down the important details and plot points before you begin writing is crucial so that you have a purpose to your scenes, so that things don’t feel repetitive or pointless. when i outline i tend to organize by word count. for instance, by the 5k mark let’s say i’d like to already have established what character A does for a living and some of their interests, and i’d like character B to be vaguely introduced. by 10k i’d like the characters to have formed a friendship and for the conflict to have been introduced, so on and so forth. the plot spacing may differ based on the goal word count for a fic (do things happen quickly or is it a slow burn? etc.). 

next I make a tentative timeline for the fic. I have to give myself sufficient time to plan and to write without rushing myself, but also make it reasonable enough that i can still look forward to it! writing takes different amounts of time for different people, but the more you write the more you’ll be able to estimate how long a certain word count is going to take you to complete. also, as far as advice goes, decide if you’re going to write everything and publish at once or if you’re going to upload weekly chapters, etc. i strongly recommend publishing a full work at once. typically people shy away from unfinished works and it can be very disheartening when there are almost no reads. publishing all at once will raise the chances of your fic being read and shared and will also help you as a writer not to make mistakes because you are able to go back and fix/edit certain plot points as you write. 

organization 

if you have more than one wip at a time, it can be really helpful to have some sort of organization in place. i write primarily in google docs, so i have one master doc with all of my wip information inside of it. i use a numbered chart (the docs themselves are titled with numbers only and correspond to the number in the chart) that has the tentative title, the goal word count, the current word count, which pov i plan to write from, and an estimated posting date. you can also limit the number of wips you have this way.once a work is published i move it from my wip list to my completed list, with the title, the final word count, and a link to the posted story. this part is optional, it just helps me to be able to see all of it in one place. i’ve found this method to be much more helpful than just making random notes on my phone that i forget about within the hour!

research 

depending on the topic of your fic and the setting, you may need to do some research beforehand. if it’s historical, I brush up on the history of it and watch some films or read some books about the time period to get a feel for the vernacular and style, etc.. if the protagonist has a job i’m unfamiliar with I search up what they do, how much they make, where they work, and things like that. it’s unlikely that someone is going to fact check every little thing, but accuracy when it comes to these topics is very admirable and i feel like it really adds a lot of depth and authenticity to a fic. 

another fun activity for this portion of planning is designing the characters. i try to do this for a lot of mine and experiment with personality traits, quirks, and appearances, and to create a character that feels layered as opposed to just surface level. it’s fun for me to figure out their morals and motives and opinions and to play around with those and see if they can be changed throughout the course of the story. an interesting activity here is to take personality tests from what you think they would answer about themselves! then, even if only subconsciously, your character now has interests and hobbies and feels more real, which will definitely show through when you write. there are some for you to take here, here, here, and here, and this is also a good resource.

atmosphere 

(meaning in real life, not the setting of a fic). i tend to produce what i feel is my best work at night, after dinner when i have nothing else to do for the day and i can just relax. having a designated time and space to write really helps with motivation and focus, and can be the difference in accomplishing your time goals for the fic. feel free to try different things like adding music while you write (i write with headphones in and music blasting!) and adjust your surroundings to your liking. put on noise cancelling headphones, stop the clock that keeps ticking in the background or turn up the floor fan to drown other things out, or play some ambience videos from youtube to help you focus. whatever works! sometimes i also create playlists for my fics that i listen to while writing them which can add some more depth to the story too! being comfortable and not distracted are my two main requirements. also, unless it’s for music or research purposes, i would suggest distancing a bit from your phone as well!

word vomit 

this is one of the most frustrating parts of writing but i can’t explain how many times it’s helped me, especially when i’m trying to reach a certain word count. i like to do an exercise when i don’t know what to write or i just have a vague idea where i sit down and just write. i don’t let myself backspace anything (unless it’s a small typo or something minor like that) and i just see where i end up. the reason why this is so helpful is because a lot of times subconsciously our brains already have some kind of idea of a direction to go in or what should be included. though this rough draft almost never makes it into my final piece and frankly doesn’t make much sense, i’m able to go back and read over it and think oh! that’s a good point, i can also write about [random plot point] here! as i think of it.

dialogue 

the very first part of a scene that i write is the dialogue. personally i find it the easiest, and it helps me make a skeleton of a scene where i only have to fill in the descriptions in between. most of the time getting the dialogue written can help to visualize a scene and make conversation flow easily when you aren’t distracted with everything else going on in the scene. a lot of times if you’re focused on what a background character is doing the actual speaking may end up choppy or not make sense when you’re finished with it, which is usually my issue. this method is a good idea to use if you find yourself stuck on a scene or if you don’t know what you want the setting to be yet. if the dialogue you wrote doesn’t fit just right once you’ve added in the rest of the scene, you can always alter it to your liking.

taking breaks 

this is the key to staying motivated for me. if i push myself too hard or write for too long i get frustrated and struggle to keep the flow going. it’s important to take a break when that happens because it becomes very obvious in your writing when you aren’t inspired. you’re more likely to take the easy way out of conflicts and dialogue and it could completely change the tone of the fic. by this i don’t mean procrastinate writing, but definitely make sure not to over-write. writing should be fun, not stressful.

similar fics 

this step is 100% optional, but i find that it really helps me. when i read other author’s fics and i get inspired, the scene really sticks in my brain. to avoid accidentally copying someone’s ideas from their own fic, if i know that i’m writing something similar, i avoid reading any fic with a similar premise during the entire writing process. even if i think i won’t, often times i’ll subconsciously mirror a scene or a piece of dialogue from another fic without meaning to. this is definitely something to look for when you’re reading it back over!

balanced elements 

this step really just depends on the type of fic i’m going for, but i’ve found that fics with some balance to them tend to do better than others. by this i mean fics that have a little of each important element like angst, fluff, smut, etc.. of course, this differs from fic to fic depending on the plot. if it’s a pwp, obviously the main element will be smut. if it’s got some heavy topics in it it may be primarily angst, or a holiday fic might be just fluff. all of these are okay on their own but it’s super easy to mix them together to create more realistic scenes and meaningful emotion in the dialogue. in a pwp i try to add some back story into it, something a little angsty or that gives the smut more meaning than just surface level (unless of course that’s what you’re going for!). on the flip side, you could take a really fluffy fic and at some smutty elements that enhance the love-y feelings from the fluff. even fluff/angst might be fun to explore! my point is that realistically we feel many emotions at once, all the time. when i write one alone my writing often feels like it falls flat and my message/theme doesn’t come across the way that i want it to.

resources 

there is a list of resources and links at the bottom of this post that may help during the writing process! they are ones that I have saved to look back at when I get stuck!

read it over 

this is my least favorite step. at this point, once i’ve finished the fic, i just want to post it as-is. i don’t feel like reading it over or doing edits - i just want to be finished with it. the benefits outweigh my dislike of it though, so i make myself do it anyway. it’s necessary (for me) to take a short break between when i finish it and when i read it over so that i can look at it with fresh eyes, just a day or two at least. the most important advice that i can give here would probably be not to delete anything you don’t like immediately. almost 100% of the time something can be re-written without being deleted, so if you don’t like the way a sentence is structured or the way a character speaks in a certain scene, don’t delete it! just see if you can rewrite it to model what you’re going for better. this step helps me to stay above my goal word count and not to let my insecurity get the best of me. everybody is their own worst critic, but usually there’s a reason you wrote something down, so give it every chance before you get rid of it altogether. i wrote about this here as well.

beta’s 

i’m going to link to another post i answered about betas here!

choosing a title 

when it’s time to choose a title for a fic i usually pick from one of four places. the first is a catchphrase from the fic. if there’s a recurring theme or nickname or description, it may be a good idea to title it the same thing so that readers will connect the title with that detail and remember it more easily in the future. the second place is from a song. there’s a lyric for nearly every different message and emotion, so there’s a high chance of being able to find one that goes hand-in-hand with a fic. the third place i look is in poems. i’m personally a big fan of lang leav, michael faudet, and bukowski, among others, and poetry usually also features a wide range of themes to choose from. the last idea i resort to when i can’t come up with anything else, which is to take a word that you feel represents the fic and translate it into another language like french or spanish, among others, or pick a word that has a meaning that corresponds with the fic. although there are no right or wrong titles, i would suggest to try not to pick a title that’s been used a lot already, or one that you think might be easily forgettable. even if you think it might be odd or not typical, people are going to remember it much more than if it’d just been a regular title.

choosing a summary 

this step is also kind of hit or miss for me! either i know from the beginning what i want my summary to be or i struggle up until the last second trying to come up with one. there isn’t really a right or wrong summary – except for one. my advice here is please, please don’t just put ‘i suck at summaries! just read it!’. people tend to gravitate toward fics if the author seems confident in their own abilities as opposed to someone quite literally pleading with them to read. other than that, there are several types of summaries that i see a lot of. personally i like to use a snippet from my fics in italics, so that people can get a feel of what my writing style is like beforehand. when i write drabbles though, i usually come up with a quick, occasionally witty tidbit of a summary to grab people’s attention. for example: 

a longer fic summary

Harry Styles takes his time coming out to greet them. Louis only knows what he’s seen on file and what he’s heard them talking about, but he fully lives up to the image he had inside of his head. 

He saunters down the front steps of the farmhouse in his Levi’s, brown snakeskin boots curving out from underneath the denim Louis’ sure he had specially made. He’s got on a plaid button-down tucked into the jeans because of course he does, curls spilling out from either side of his cowboy hat around his sunglasses and country-tan skin. 

“Harry Styles,” he drawls, extending a hand to Louis’ manager, “Pleased to meet ya’ll.” 

(from my fic baby blue)

+

a shorter fic summary

there is little harry hates more than truth or dare. 

and louis. 

(from my fic like it’s a game)

+

and sometimes people use both as well, like this one from @falsegoodnight​ ‘s fic, before we knew – 

“C’mon Lou,” says Zayn after a moment, He sounds even more exasperated than before. Louis sort of has a knack for exasperating people, especially people like Zayn who aren’t usually bothered by his brattiness. “Can’t you give this guy a chance? Harry Styles? Aren’t you curious about him at all?” 

Despite his best efforts, Louis still flinches at the name. He really shouldn’t be so affected after all these years. He’s seen the name printed down the curve of his waist in obnoxiously and uncommonly large loopy letters every single day since his sixteenth birthday eight years ago. He’s very familiar with the name Harry Styles. It sounds pretentious and Louis hates it. He hates everything about his supposed soulmate. He hates his large handwriting that stands out like a claim on his skin whenever he’s walking around shirtless. He hates his pretentious name. And now he hates his supposed curls and green eyes and dimples. 

- 

Or Louis has been skeptical of soulmates for years so it seems like fate when he finally bumps into the owner of the obnoxiously large signature printed into his skin since age sixteen: Harry Styles, a human rights attorney who is firmly against soulmates.

+

and this link has some other ideas and tips for writing summaries that I found to be very helpful! 

posting a fic 

as far as tags and ratings go, THIS PART IS IMPORTANT! all of the steps are in one way or another, but this one is crucial that it’s done correctly. warnings and tags can absolutely make or break a fic. people tend to have very strong preferences when it comes to fics so i try to be as specific as possible without giving the entire story away in the tags. if you’re afraid of doing that, you can always put the full warnings in the note before the fic and tell people to check there before reading. i won’t list all of the possible triggers here but be sure to look those up if you are unfamiliar with some of the common ones. when it comes to tags, you’re always better safe than sorry! i like to tell people they’re free to message me and ask about something if they’re uncomfortable as well, so i can explain the trigger to them and why i tagged it that way and they can decide if they’d like to read based on a more informed basis. tagging correctly saves many people from being blindsided by something they didn’t want to see, and it also protects the author from some very angry messages about warnings.

archive of our own has an extensive support page with all of the info you could need about posting a work on their site including tags, ratings, warnings, co-authors, translations, HTML, and more. you can find it here.

as far as wattpad goes, i am definitely not as familiar with it. i have only a couple of my fics over there and a few translations that people have done for me, so my knowledge is very limited. this link seems to have some good resources for posting with them.

moodboards, graphics, covers 

i feel like the writing does most of the work itself, but a graphic can really help when it comes to the next part of the process, posting on social media. some people like to do moodboards, some people commission artists to draw for them, and some like to create their own graphics completely from scratch. like most aspects of fic, there isn’t really a right or wrong way to do this. i usually make moodboards for mine! i try to stick to an aesthetic or theme, and pick a cohesive amount of pictures to use (typically three, six, or nine so they line up nicely). the pictures i use are almost always from tumblr, pinterest, or weheartit. i put them together using an app and then put a blanket filter over all of it so that it all looks unified. if you used pinterest or weheartit to create concept boards for your idea in the beginning, now is a good time to use those photos and media as well! if you’re curious, the apps i use to create graphics, moodboards, and covers are as follows:

canva (mobile app & website) 

tons of templates to choose from as well as patterns and fonts! some things are locked unless you’re a member but most elements are free! easy to download and share and lots of options to customize and play around with. i strongly recommend the website on desktop or laptop as opposed to the mobile app so that the features are more easily accessible.

picsart (mobile app) 

when i need to make one quickly and i’m not near my laptop (or just need something simple) i use picsart to make a quick collage and put a filter over them. there are some limited text options as well but they are not as advanced as some of the others mentioned here.

photoshop express (mobile & desktop app) 

a step up from picsart, but slightly different elements. photoshop allows you to control a lot more once you know how to use it. there are some nice moodboard layouts here, as well as text and fonts, borders, and color controls. my favorite tool on here is the style transfer option under ‘effects’. a very quick and easy way to make your pictures look very cohesive!

vsco (mobile app) 

perfect for adding filters and things like vignette, grain, and fade. it also has some color controls to customize those. this is typically the last step before i post. and you can save custom presets that you like to use again!

and there are many others as well – almost all photo editing apps and software have a function that will allow you to make a collage or add text to a graphic! i know wattpad also requires a cover for their stories and I believe they have an app for that too!

here are some lovely graphics that have been made for my fics by @lovelylou​, @behisoneandonly​, @tomlinvelvet-ao3​​ and @brickredtoe​  as some examples :) 

and one that I've made as well: 

social media 

once i have a moodboard or graphic, i post the link to my fic on twitter and tumblr. in these posts i always make sure to include the title, the word count, and the summary. i try to make it as visually appealing as possibly by organizing the post accordingly and using fonts occasionally to catch people’s eye. this is the app i use for those on mobile! 

i think about the sizing as well – twitter has set dimensions for its photos and is known for displaying the photos awkwardly. tumblr on the other hand will let you upload up to ten photos of any size, and will display them fully without any cropping. according to this link a single photo on twitter should be 16:9. this page also has some good tips. and as far as i can tell if you’re using two or four photos, i would stick to the square images as that is what’s worked for me personally. i believe canva also has a template for a twitter post too.

write for yourself 

i think everyone knows this on some level but i tend to need to be reminded pretty frequently. if you’re heavily involved in social media and fic discourse, it can be very easy to get attached to what you know people want to see. writing should be a balance though, and you should always write for yourself before anyone else. we’re all free to write whatever we want and, even if it’s difficult, you shouldn’t ever let someone make you feel guilty for doing so. writing is an escape and a safe space but it can very quickly become something that causes stress and anxiety if you aren’t doing it for the right reasons.

don’t stress 

easier said than done, I know, but like I mentioned earlier, writing should be fun. a lot of people here don’t do it as their job and no one gets paid to write fics. these are projects that authors take on on their own time even while they work and handle everything else in their lives and those things should come first and foremost, as well as your mental health. this circles back into my earlier point – don’t let people make you feel guilty about anything like not finishing a fic on time or not writing exactly how they wanted it. authors are real people with real lives too and if things get to be too heavy or too stressful, they’re entitled to a break or to leave if that’s what’s best for them.

don’t be afraid to ask for help / validation 

there are tons of lovely writers in this community and others that would be more than happy to answer questions and give advice. if you’re struggling with something, there’s always somewhere to go to get help! 

however, the concept of validation is a bit trickier than the others. there’s a fine line ;) between asking for validation for a little boost, or relying completely on it. posting snippets and sneak peeks is a great way to get people excited about your work and to get yourself motivated if you’re feeling down, but i would suggest not to post one with the sole purpose of fishing for compliments. if you do, it can be very disheartening if you don’t receive any or the ones that you were looking to hear. in my opinion you need to be at least somewhat confident in your own abilities before you can expect other people to be. posting a snippet is more beneficial for when you’ve got a mental block or are stuck in a scene as opposed to just searching for validation for the sake of getting it.

cliche vs. copying 

there’s also two sides to this argument! you shouldn’t be afraid to write what you want, even if it seems like it’s a common trope or cliche topic. everybody writes in different styles and has different ideas and therefore may provide an entirely different view on what’s been poised as a ‘common’ theme. i think i could read a thousand of the ‘there was only one bed’ trope or the college au’s or the other popular plotlines. they’re popular for a reason and you shouldn’t be afraid to explore your own take on it! no one author ‘owns’ a specific trope. 

BUT there is a clear difference in doing your own take on something versus just copying what someone else has written exactly. the lines can get blurry here but it’s obvious to readers when something has been repeated word for word from another fic or when one too many elements are the same. to be on the safe side, always check to make sure that the specifics of your idea haven’t been done exactly before. 

resources 

+ masterpost of some resources 

+ how to keep readers engaged 

+ helpful tips 

+ 100 words for facial expressions 

+ how to write good villains 

+ good advice  

+ synonyms for commonly used words 

+ using metaphors and references 

+ more helpful tips 

+ descriptions

+ synonyms for ‘beautiful’ 

+ tips for dialogue 

+ writing enemies to lovers 

+ other helpful tips 

+ writing friends to lovers 

+ dystopian writing 

+ writing a realistic argument 

+ ways to cut word count 

+ how to write smut 01 * tw for body descriptions etc.  

+ how to write smut 02 

+ SUPER helpful smut vocab

+ how to write flirting 

+ how to write about grief 

+ even more helpful tips

[recentanimenews]

OPINION: How Umineko Changed My Entire Approach to Fictional Media

All screenshots captured on Playstation 3 by author

  The following article contains a discussion of thematic elements and motives that appear during the second half of Umineko When They Cry. While no actual plot details will be revealed, some might still consider it spoilery. So if you want to experience one of the greatest pieces of fiction ever completely untainted, you should check it out on Steam right now.

  The internet is pretty rad, isn't it? You can follow your favorite creators, watch tons of awesome shows, and talk about your favorite things with other people. How about we do that right now? Well, too bad, because YOUR FAVORITE THING IS BAD, ACTUALLY! You made the mistake of posting about it online, so prepare to be sent lots of negative comments linking to 5-hour video essays pointing out every single flaw about your favorite story and why you are wrong for enjoying it!

    It's a situation I'm sure many of us have experienced at least a couple of times online. While the internet can be fantastic for finding like-minded people to chat with about things you deeply love, it can also be a gamble and sometimes you end up in a discussion where your conversational partner seems more interested in showing off their intellectual superiority over a work instead of openly discussing its merits or flaws. I certainly know — I used to be one of them.

  "As I've eaten my way through countless tales to escape boredom, I haven't really been eating them. I've just been killing them." - Hachijo Tohya

  The rise of social media has opened the gates for some incredible in-depth discussion and has changed the way I experience things over the years. But there is also a dark side to the discussions on the internet and that is the trap of wanting to feel intelligent in how you approach stories, which is often accompanied by not really being emotionally earnest. I myself tried to come off as perceptive by pointing out so many mistakes and bad things about media which led to exactly one thing: me becoming absolutely miserable. All I cared about was consuming as many things as possible (FOMO's also one of the many downsides of social media) and appearing as "smart" about them as I could. Until one fateful 10-month stretch in which I played a certain visual novel known as Umineko When They Cry.

    Umineko really is tailor-made for catching people with that mindset: It depicts a mystery story about how mystery stories are told and consumed — and what genre would be more fitting to challenge someone concerned with intellectual superiority than one that is all about the clash of Author vs Reader? 

  "Books aren't a competition. It's not about who's read the most. But boasting that you've read all your ever need to read is just as wrong-headed" - Battler Ushiromiya

  Umineko starts off with a well-known mystery trope: A family meets up in a mansion on a distant island, gets cut off by a storm, and then slowly gets murdered one after the other until everyone is dead. And just as in Agatha Christie's And Then There Were None (which served as one of Umineko's main inspirations), a bottle detailing the events of the incident to the public eventually washes ashore. But this only serves as Umineko's prologue, as its main character Battler quickly finds himself facing off against a self-proclaimed Golden Witch known as Beatrice on a meta-narrative level where he must prove these gruesome killings could have been committed by a human culprit, or be forced to acknowledge her existence and allow her to fully revive.

    Thus begins a game of chess filled with exceedingly preposterous murders in which our protagonist's family gets killed by demons, giant goat butlers, and sharpshooting bunny girls — all supplemented by the so-called Red Truth, a truth-revealing tell not unlike Martha's vomiting in Knives Out. Battler must use these authorial proclamations and find a loophole that enables him to explain the murders in a way that does not frame any of his beloved family members as the killer and still allows him to deny the existence of the gruesome and torturous witch.

    Umineko's all about how stories are perceived and told by both their creator and their audience. It explores how remarks by the author in every situation — no matter how off-hand they might be — can be used, applied, and twisted to shed a completely different light on a story regardless of its original intent. It shows how adding meaning to a narrative that wasn't meant to be there can both add to or subtract from its most important element: The heart its creator wanted to convey.

  "If I had found meaning in only exposing the truth, I would have sunk to the level of a truth-revealing witch and fallen into ruin, spreading only hatred, [...], crushing and refusing to acknowledge anything but the particular truth I seek, unable to escape the cycle of misery." - Ange Ushiromiya

  Umineko goes through many different angles of how we create, share, and discuss the tales that fuel our discourse. It ponders the importance of rules when creating storylines and tackles how easy it is to overlook major themes and motives by just focussing on minute details that are open to misinterpretation and irrelevant to a story's soul. It even includes the typical misanthropic yet oh so intelligent detective that usually gets idolized in most media (think BBC's Sherlock or House, M.D.) and puts them at odds with every other character because who would really want to cooperate with someone that completely disregards you as an equal human being and merely perceives you as an amalgation of hints, motives and alibis?

  "Sheesh! Just one more step and I'd have been able to take a heart as innocent as the smooth sand just after a wave had pulled back and tear it to bits. What a shame. This isn't fun anymore." - Erika Furudo

  And just when you start to really get into Umineko, it moves away from its main conflict, providing you important hints for its solution which most readers ignore as they aren't presented with facts and logic but on an emotional level distanced from the characters we long to get back to. But most importantly, it conveys how one single element is so indispensable to enjoying the narrative odysseys we embark on in our lives, to cherishing the characters that are presented to us in these tales, and to truly understand a story's message behind things like story developments, plot twists, and narrative tricks. I, of course, am talking about love.

  Be it the love you feel for characters, for certain staging elements, phrasings of prose, orchestrations of music, design of sound effects, implementations of themes and motives, or cinematographic puzzle pieces — the one thing that is indispensable to truly enjoy all kinds of media, is love. Or, to quote Umineko directly, "Without love, it cannot be seen."

    By the time, I was nearing the end of Umineko's eight main chapters, it had transformed from an intellectual battle between author and reader to an all-out war of a story against its community of readers who simply wanted to tear it down to cold, hard "facts." I had spent ten months and over 100 hours. The first half took eight of those months to get through (owing to a few lengths in Episodes 2 and 4), I finished the second half in less than two despite my busy schedule. I even dedicated a whole 15-hour marathon to the final episode as I was too glued to the grand finale to move away from it.

    A new me came out the end. I no longer had an interest in tearing apart media for minor missteps. I enjoyed them much more deeply and honestly and began taking my time with the things I consumed. Instead of filling my plate at the buffet of stories as much as I could, I gave each dish its own course on the menu so I could appreciate its flavor in a different way — one bite at a time and not stuffed up simply to give the outward appearance of a seasoned gourmet. And for that, I will never be able to thank Ryukishi07 and his co-creators at 07thExpansion enough.

  "The point of theory-making is not to create a culprit or to trample the truths that lie in the hearts of those who have not sinned. If you want to play detective, don't neglect the heart. Otherwise, we're just intellectual rapists. Don't forget it!!" - Willard H. Wright

  If you are interested in reading Umineko When They Cry, you can find both its Question Arcs and its Answer Arcs on Steam, GOG, and MangaGamer. You can also read the manga adaptation digitally on Bookwalker (though I personally recommend the visual novel for its award-worthy soundtrack alone).

  What work of fiction has touched your life in a profound way? Tell us in the comments!

      René Kayser works for Crunchyroll as a PR and Social Media Manager in Germany. You can find him on Twitter @kayserlein where he tries to get people into Umineko every single day.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com