#where else in the world can i go for plot developments like this? god.

[tortoisesshells]

This is perhaps premature, but I've gotten through to 214 & while Barnabas has gotten some heavy-duty foreshadowing, talked up as a force of inscrutable malice and evil, haunting the narrative as a disembodied heartbeat- thusfar, he's mostly been strangely charming, flirted with people who may or may not be his direct descendants, and monologued about home construction and evil in The Old House at Vicki. I know it's coming, but.

[gallusrostromegalus]

I did not care at all for Aizen Sosuke when I first read bleach. I found him boring, and worst, unthreatening.

So it's pretty jarring for me that I have been OBSESSED with him in your AU. I'm rotating him at great speed

Walt Disney was a jackass who was flat-out wrong about a lot of very important things, but he employed a great many geniuses of storytelling, and there's a piece in Disney Animation: The Illusion of Life by Frank Thomas and Ollie Johnson that discusses a key feature of Disney Studios Character Design:

"Of all characters, villains are the most fun to develop because they make everything else happen. They are the instigators, and always more colorful than the Hero. They may be dramatic, awesome, insidious or semi-comic, but they MUST be appealing. Almost any story becomes innocuous if all the evil is eliminated, but we do not necessarily gain strength by being frightening. we want a character that will hold the audience and entertain them, even if it's a Chilling Type of Entertainment."

And I've found that to be an important principle of character design, especially the kind of canon restructuring I do.

Aizen had a LOT going for him in canon- for all of Bleach's other faults, Aizen's conspiracy and THE REVEAL are spectacularly constructed and executed. I legit screamed and threw my mug across my dorm room when I read it in the manga the first time. He's also conventionally attractive and the translations I was reading gave him the speech patterns of Every Douchebag In Your 101 Political Theory Who Thinks He's The Smartest Man In The Room, which made him a terrific combination of Unfortunately Charming, Menacingly Competent and Engagingly Obnoxious.

...But he falls flat in a few key places.

Aizen's reasoning could be MUCH more sympathetic- After all, he is RIGHT. Soul Sciety does suck ass and all the options kind of suck. Who designs a universe like that? An asshole who needs killing, that's who. The best kind of Unhinged Madmen are the kind who spell out their reasoning and you realize that there but for the grace of Not Having Super Powers Go I. Canon!Aizen makes a few Good Rhetorical Points, but seems to lack any personal connection to his all-consuming plan.

Another issue is that nearly every villain with A Plan has a clear end goal AND a lot of the menace is drawn from the fact that the plan *could* work. Aizen's plan for betraying the court guard and then killing them off before proceeding into the Royal Realm to Kill God sorta falls apart when it's clear he planned to use pretty much all his accumulated forces dealing with the court guard and doesn't seem to have a plan for the Even More Powerful Royal Guard, let alone God. For how meticulously planned the rest of the plot is, the last two VERY IMPORTANT steps are just handwaved.

So I sat down and started with the plot beats Aizen MUST hit, and tried to imagine what kind of guy would he have to be to get there? And I came up with this:

Sosuke Aizen is a fundamentally good man with genuinely good intentions who is really trying his best for the whole world.

Think about it- what lengths would you NOT go to if you think you found a genuine shot at Fixing Everything Wrong With The World Forever? We all talk about killing Hitler if we found an actual Time Machine- would you do it if your only chance was when he was a baby? Would you kill an infant if it meant you could stop World War II before it starts? Of course you would! One small life for over 75 million? You'd be insane not to! What if you found out that you could prevent the future extinction of Humanity by killing your best friend today? Ten Billion lives? For theirs? It's simple, really- Hell, it's your Moral Obligation to do that if you were SURE!

-And Aizen IS sure. He is absolutely, totally, completely sure that He Can Save Everyone if he just gets rid of that idiot sitting on the throne of heaven. He's seen the plans! He knows where the gate of heaven is! It's So SIMPLE he just has to get inside, and he knows EXACTLY how to do it, yes it'll be hard and there will be... unpleasant parts but. IT. WILL. WORK.

He is of course, insane.

Aizen didn't have One Bad Day that set him irrevocably on the path of madness. It was a succession of catastrophic disappointments and realizations that he was living in a fundamentally irrational world that made irrational thinking look sane. The Catastrophe that befell his family, working for the central 46 and later the court guard and seeing how the organizations were inept to the point of abuse or corrupt to the core, learning that The Actual House Of God is a place he can just? Go to? Anyone would start thinking you were just a handful of white lies and homicides away from Fixing Everything, Forever.

Not only is Aizen insane, he is nowhere near as smart as he thinks. He is smart- He does have a knack for being able to guess just what will spur someone to action or make them recoil in fear. But mostly he gets extremely lucky Many, Many, MANY times. On some level I think it gives him Confirmation Bias that this is what he's supposed to be doing. Aizen is also nowhere near as smart as (nearly) everyone else thinks he is. His bizarrely good luck makes him look like a hyper-competent genius when really it was really the catastrophic failure of Soul Society as a Society that let a merely mediocre conspirator to evade detection for so long.

Being that he is at most, mediocre, he had to have Outside Help, specifically Gin's emotional support and Tousen's Competence- and if there's a part of the fic that stays true to canon, it's this.

Gin is Aizen's emotional rock in Canon. He's the ONE guy that Aizen genuinely trusts, and considers his 'my only real partner' in his scheme. There's more than one occasion in the manga where Aizen more or less asks Gin "Is this actually a good idea?" and Gin backs him up every time.

...Which is more than a bit at odds with Gin's later stated goal of "I did all this to kill you at your most vulnerable to protect rangiku" . It never rang true to me. So I started thinking why on EARTH Gin would be backing Aizen up like that, and realized there was a hole in my world building that he slotted into nicely :)

On the other hand, the entire fic was started because I didn't like how Tousen's character arc ended, so you can imagine how much he's changed.

But in canon, TOUSEN DOES ALL THE FUCKING WORK.

Lab work? Tousen.

Supervising the arrancar directly? Tousen

Actually getting victims for the Hogyoku experiments? Tousen.

Altering all the archives to keep Aizen's plot hidden? Tousen.

Sending all the Orders allegedly from the central 46? Tousen.

Making sure Unohana believes Aizen's fake body is real? Tousen.

Managing all the day-to-day operations at Las Noches? Tousen.

There's even this little exchange, which is Tousen's first appearance in the Manga:

Aizen establishes this entire meeting is a little fake-out a few pages later with "now isn't that a convenieint time for the alarm to go off?"

which makes him look like he's investigating, but he's also going "Good job on disrupting everyone with the alarm Gin!" It's ballsy of Aizen to do a check-in on his plan with his main nemesis in the room, but also his style.

I think the same thing is happening here with Tousen. To make sure Ukitake wouldn't raise a huge fit about the proposed execution of his beloved lieutenant, which might fuck everything up for Aizen because Ukitake is one of like, three people Yamamoto will listen to (sort of).

...So he had Tousen poison Ukitake to keep him out of the way.

ALL. THE. FUCKING. WORK. It's even in his name! The characters for "Tousen" Refer to a legendary scholar the emperor of China sent out to discover the secret of immortality- only to kill the scholar when he returned with that secret. The character for "Kaname" means "Necessary/Vital/keystone" or "to organize/take account of". His name LITERALLY means "Scholar who is essential for the plan (that we're going to kill later)"

Another thing Kubo did well in Bleach: his name game is Off The Fucking Charts.

-but I digress.

In AEIWAM, it's much the same only this time Aizen sees this very dangerous witness who is immune to his illusions but also extremely snart and capable young man and instead of risking being caught out by the one damn guy who can see right through him, opts to Curse Kaname into doing as Aizen says, and doing all the fucking work of this conspiracy against his will.

It's Not Nice, but Aizen genuinely thinks he's doing Kaname a favor by subjecting him to this degrading and incredibly painful servitude- I mean, Aizen's only other option was to Kill him to keep his silence, and isn't it wonderful that you get to help fix the universe? You're the one always going on about Justice, I don't understand why you didn't jump at the chance to mete out some Divine Justice.

An Excerpt from the captain's meeting in between the Massacre that made the visored and Zaraki's arrival, when Kaname realizes Yamamoto is 100% serious about his promotion to captain of the 9th and goes to throw up in the garden. Aizen offers to go check on him while Unohana very politely reads the general the riot act:

---

"You broke your toy Aizen." Kaname coughs.

"…I really am sorry for running you ragged like this. I really shouldn't have gotten so mad about you hiding the the hogyoku- it was very petty of me." The bastard sighs, taking off his glasses and rubbing his face, entirely genuine.

Kaname stayed on his hands and knees, weaving slightly as another wave of nausea flowed through him, powered by disgust and rage.

"How about this- I've got a lot coming up with the new job, training Gin and disposing of Kiganjo- So how about I promise to not give you any orders for a while? You will have to keep our arrangement a secret and not interfere, of course, but other than that, you're free to do as you please for- a year and a day is traditional isn't it? No, that's not going to heal by then- Oh, would you look at that!"

Kaname didn't have the strength to offer his usual rebuttal that he won't look at anything, ever. The sides of his head tingle like his skul was being pressed between two enormous hands made of static electricity.

"It's 11:11! Alright, I won't give you any Orders until 11:11 am on November 11th, 1911. That's easy to remember! What do you think?" Aizen continued cheerfully, patting his back and the Curse nails.

"…I can't." Kaname groaned. He could scream if he had the energy, but due to Aizen's Illusions, nobody would hear him. "I actually physically can't think. Please…"

"Of course! You really are such a help to me, it would be a shame to lose you. I'll even amend our contract, so you don't get paranoid-" There was a sizzling sound and a new stroke of hot pain up Kaname's spine as Aizen did something to the wretched Bakudo. "There. No compulsions for eleven years and a day. What do you say?"

Kaname grimaced, but dropped his head. Save the energy to fight another day. "…thank you, Aizen-sama."

"Good man! Let's get you on your feet." Aizen beamed, putting his glasses back on and offering him an arm.

---

He genuinely thinks that he's doing everyone a huge favor and if they don't get it it's because they're just not smart enough, but it's alright, He's a Benevolent God and they'll appreciate all his hard work the next time around :)

Aizen is a man who is FULL of joy. He loves what he does! He actively takes pleasure in it! And I think that's something that REALLY delivers in terms of sympathy AND horror for him. Who *Wouldn't* have a great time actually fixing the universe? He's a good man who enjoys doing good works, and this is the greatest work of all!

It also Delivers on the Horror when I get to write the deliciously fun scenes where Aizen is Elbows-deep in a novel War Crime and waxing poetic about how GREAT this is, or being confused why the people around him are reacting with fear. Don't you want to make everything better too?

[krems-chair]

Something Something Yeah It's Still Solavellan Hours (Mythal is kind of here, too)

I've seen a few very beautifully articulated posts talking about the conflicted responses players are finding themselves having in regards to the decision by writers* to have Solas' atonement route possible because of his conversation with one of the remaining fragments of Mythal.

(*honestly I hesitate to put the weight of bigger game events on their shoulders because of how much I know bigger players in the company were involved, so when you read 'writers' know I just mean whoever had final say on plot)

I love reading where people are at on this, and having now breathed, re-played the scene, cried, read some more theories, and then played the scene again enough times I think I'm now able to figure out where I'm at.

TLDR: in my humble opinion, the conversation Solas has with Mythal doesn't bring him any actual closure at all. It is only the version of the atonement ending that has Lavellan in which he is actually set upon a road to redemption.

This, like everything else where I lose my mind, will be long. I tried to restrain myself and here we are, unhinged as ever.

I was unhappy at first that Mythal's incredibly brief conversation with Solas where she releases him from her service seemed to be what finally allowed him to make a decision based on his wants and not hers. My concern stemmed mostly from the fact that a lot of us are trying to be active participants in a society that recognizes patterns of abuse and seeks to establish channels through which individuals can pursue healing without the approval, consent, or demise of their abuser.

But the more I look at the scene, the more I wonder what would have happened in a world where Veilguard got just a little more time in development. Could we have gotten a scene that more elegantly conveys the theme that we cannot heal every part of our loved ones, much as we might like to?

In an imperfect world it isn't always up to us how someone finds closure, which really sucks when you'd like to ensure a loved one finds it in a way that preserves their dignity and limits exposure to the individuals who have harmed them.

And while it could be left there, I'd like to actually push back on the idea that Mythal is in any way responsible for "healing" Solas in this moment.

I went on a different tirade a few days ago about how at the end of Inquisition, Mythal says words to Solas that on their surface seem well-intentioned or placating, but they actually just serve to further bind him in guilt and a position of servitude. In Veilguard's finale, she still does not take accountability for exactly how much of a role she played in the pain that Solas, a man others have revered and feared as a god, has gone through as he cowers, actually cowers before her.

Mythal's interaction with Solas conveys exactly two things to him as far as I am concerned (I'm going to botch these quotes but my laptop is dying so please accept some paraphrase as I rush to finish this before I go cry about this analysis to my uncaring dog):

"The terrible things we did, we did together." You are forever tied to me.

"I release you from my service." But what am I releasing you to?

Because up until Lavellan joins the fray here, all I take away from the physical and unwilling emotional cues Solas gives in this scene (he is a master in trickery, for goodness' sake, the thought of so many witnesses seeing him unable to hide behind a mask has to leave him feeling anguished on top of everything else) is that Mythal has once again reminded him of everything he did in her name and telling him that all that's left for him is to go back to the fade prison and, as he as always done, endure the crushing weight of his failures alone.

To me, in my interpretation, the Solas that hears this from Mythal with no Lavellan intervention may choose to willingly step down from his original plan (and yeah, that's gonna do some damage) but he is certainly not free of his past. He's going to be reminded of it every time he turns a corner and finds more blight to try and soothe, and even the moments that he rests will be filled with more manifestations of his regret. He says it himself: where he's going? It's terrible.

Enter Lavellan. Yeah, he couldn't bring himself to listen to her at her first plea (but like damn how many times are we going to have to watch her give a heartfelt speech only for him to be like 'something something beautiful elven rejection'). But I know that you know that our clever icon knows better than to take what Solas says at face value. She tells Rook plainly that he's absolute dogshit at lies of the heart, and she says it with her whole chest.

Lavellan sees the way his shoulders slump (in resignation yes, but you can't convince me there's not a little bit of relief there, too), she hears the agony in the "vhenan" that escapes his lips (which, don't even get me started on the fact that it's been like nine years and he has no hesitation at all calling her his heart, it just spills out of him). It is not the sound of a man delighting in the steps he's about to take. They're certainly not steps he does not dislike that lead to a destination he enjoys.

And then she watches Mythal (who I can't imagine she feels any sort of fondness or respect for) pull some weird nonsense on her love one final time, and she knows it's her moment to shine.

Mythal, I would argue, pushes Solas down one more time, shames him into seeking atonement, into once again being alone.

It is the romanced Lavellan that kneels so that he cannot fail to meet her eyes. It is she who invokes their connection, not to remind him of his failures but to reaffirm his greatest strength: their love and their love alone is inevitable. Not the consequences of his past, not the regret he thinks will consume him as he seeks to mend what has been broken. It has only ever been them.

"There is no fate but the love we share". We are forever tied together.

"There is no fate but the love we share." *I* am releasing you from everything else save for this love.

Put colloquially: get absolutely fucking wrecked, Mythal.

Body language comparison to chase up the dialogue one, anyone? The way Solas shrinks before Mythal as opposed to him walking off into the fade with Lavellan at his side and standing tall, and he does not flinch when she lifts a hand to his shoulder?

Ultimately, Mythal is a part of the atonement endings no matter what. But it is only Lavellan that refuses to let him walk alone. It is only Lavellan that guarantees that his dinan'shiral ends not in a prison of regret, but a place of promise.

Mythal bends Solas until he breaks one last time. Lavellan takes each piece, claims it as hers, and uses them to build the beginnings of a future.

[undeadoracle]

c3 has certainly been the least satisfying campaign so far, but the interesting thing about that is that i don't think you can point to any single point of failure and say "there, that's where it went wrong." it's been more of a death by a thousand cuts. this is going to be criticism, but very broad strokes from a narrative perspective.

first off: to try and play out a campaign with such monumental stakes is already quite ambitious, and unfortunately the player characters for this campaign were exactly the wrong mix for dealing with divinity. bells hells never really had a reason to do the right thing; vox machina's story was very clear cut good-and-bad, along with the personal investment of seeing their homes and people they care about under threat. the mighty nein floundered at times, but had enough self motivated and strongly opinionated characters with outside ties to keep the game moving even when they weren't sure where they were going. molly's death also galvanized them to Give A Shit about consequences and what was going on around them in a way they hadn't before.

bells hells, on the other hand, has never had any personal stake in any of this; laudna, chetney, ashton and braius are functionally alone in the world, with nothing to fight for and no close relationships to see threatened. (sure, braius is ostensibly a paladin of asmodeus, but sam himself has admitted he's not good at staying committed to evil characters. i appreciate the intention behind bringing a religious character back into the campaign after fcg's ending, but braius has been flaky, at best, about his loyalties.) fcg was just beginning to forge those bonds when they died. fearne's family is safely squirreled away in morrigan's piece of the feywild, away from consequences, and she doesn't give a shit about her father. imogen only had her mother, who she always kept sort of holding out hope for and keeping at arms length at the same time. aside from her, orym is the only one with emotional stakes in of all this, and even that was more attached to ludinus himself than the larger plot of predathos being released.

ergo, none of these characters except imogen and orym have personal investment in the story they're spearheading. obviously this is accidental; with them going into campaigns blind, there's no way they could have predicted they weren't going to mesh with the plot. in a story like c1 (largely black and white apocalypse scenarios solved by stereotypical hero work) or c2 (some political maneuvering, but, again, straightforward "stop this tyrannical flesh city" consequences) these pcs might've worked fine, but having characters who are not only disconnected from the gods, but from other mortals, means they never really figured out who or what they're fighting for. each of them is too caught up endlessly ruminating over their own isolation; none of them played a character with enough purpose and/or stability in life to really bring the team together for any common goal. fcg, again, almost got there, and their loss re-fractured the team. chetney sometimes steps in, because travis is a player with great instincts, but it would be playing against his established personality to always have him take on this role. no one else has the emotional intelligence or social skills to encourage the others on paths of personal growth, and with the plot essentially being on a timer for so long, there hasn't been room for the sorts of side trips and time skips that both c1 and c2 had to allow offscreen character development to happen. they've been hurtling at their goal for most of the campaign with no opportunity to work on themselves, and it shows. the characters have largely remained stagnant.

then there's the lack of meaningful npcs. this is partially because they've been all over kingdom come, and partially because they've never really committed to being on anyone's side long enough to form bonds with npcs. they have no "home base," no faction loyalties except orym's loyalty to the ashari and fearne's loyalty to morrigan, and again, few personal ties that would easily translate into recurring npcs. given that the purpose of npcs is largely to keep the plot moving forward . . . you can see how the hells have suffered without them.

this next part is going to piss some people off, because it's (gentle) criticism of matt, but it needs to be said. i do not think he should have told this story. i'm not talking about technical ability as a dm, i mean more from a philosophical, anthropological, religiological perspective. exandria is a world the opposite of ours, in which the existence of gods is unilaterally accepted and observable, but their "right" to act as such is now under debate with the revelation that they originated elsewhere, came to exandria, engaged in cultivation of exandria's raw materials, & killed the titans who technically had the "right" to the land but wanted to wipe their creations off the face of the earth. then things devolve into polytheistic dualism, a pantheon of good gods and a pantheon of bad gods, and they spend a long time warring with each other and killing each others' creations before, eventually, mortals figure out how to kill them, and they join forces to stop that before agreeing to withdraw their presence behind the divine gate.

then he includes this confusing angle that "divine" magic isn't actually divine in origin, it's just another kind of magic that exists and the gods have taken credit for it. then he becomes vague as to what sort of "cultivating" the gods actually did--whether they're responsible for life as it's known on exandria, or whether or not they've just taken credit for what was already there. which is a level of ambiguity that's deeply unsatisfying in a setting where any sufficiently devoted priest can directly talk to their god. the conclusion, then, is that the gods withhold the truth from mortals--not because mortals can't comprehend it, it seems, but because it is beneficial to the gods to withhold it.

there is no real world religion (that i know of) that is in any way comparable to this sequence of events. dualism as a concept does not play well with polytheism as a religious structure, and titan-type figures, aka superentities that are "othered" from the gods, are generally considered as fearsome forces that cause problems but aren't specifically interested in wiping humans off the face of the earth. and the gods themselves, it is understood, are of this world; typically they're either inhabitants of it in some abstract way, or they live in a plane of reality adjacent to it and are directly responsible for making it what it is. but they also, it is understood, cannot be held to human standards; that's why they're gods.

the reason exandrian religion crumbles under interrogation is that real world mythology is metaphor, and exandrian mythology is not. in the real world, mythology is a reflection of humanity, struggling to make sense of big concepts; in exandria, it's objective fact, but there's not really any theological rhyme or reason to any of it. when we tell stories about gods and demons we are not speaking of literal things that our great grandparents experienced, we are telling the stories for their deeper meaning. when you try to do that with exandrian mythology, it becomes a story of how the natural world has to be conquered and die in order for mortals to survive and the underpinnings of the universe are one big illusion, but they can still grant you real, tangible power. when you try to take it as a metaphor, it kind of sucks.

i'm not suggesting matt did this on purpose; i think it largely happened by accident. in c1 they started out using pathfinder deities, and then he transitioned into a sort of half-original version of them, then solidified them into a specific pantheon with clear influences from preexisting deities, but with his own explanations for why they exist. i also think he deliberately avoided making them too much like real world deities in order to avoid stepping on any real world toes, which is understandable. it is the struggle of any high fantasy enthusiast to have tangible gods make sense without being world breaking. but the point is that all these little changes and additions and careful avoidance of real-world issues added up to paint a poor picture in their own right, and then he drew his entire audience's attention to it by choosing to do a campaign about whether or not the gods should be allowed to exist. and even so, this might've worked out okay, had the players come to the game with a different mix of characters. we can see the difference in how vm and m9 reacted to the situation; a different group could've taken this story down a much more compelling path than bh did.

in the same vein, i think another ongoing issue in how this has played out is matt being anxious about people projecting their feelings about real world religion onto the plot. i don't blame him; he's under immense pressure to perform with the size of their fanbase nowadays, and i remember how many people were shitting their proverbial pants over the traveler's offhand comment about how there's no purpose to the universe back in c2. i get why he doesn't want to deal with that again. and i think the players are also afraid to be seen as either condoning religious oppression or condemning personal belief, so they've been hesitant to take a strong stance on anything, for fear that no matter what they choose fans will bring their own feelings about religion into their reactions to the game. the only exception, really, has been taliesin, and we see how much anger and criticism he gets from fans every single week who assume he's using ashton as a mouthpiece for his own ideals, even though he played an explicitly pro-god character last campaign.

and matt, presumably realizing this was becoming a problem, has backtracked instead of doubling down on the stance of "this has nothing to do with reality, stop projecting," both to his players and the audience. instead, he's grown increasingly vague about what, if any, the actual consequences of all this will be. there was no question of the consequences in c1 or c2 being catastrophic. but now we're working with a plot for which, it seems, there are no real consequences either way. apparently, everything will stay the same no matter what the bh choose, because apparently, saying "there will be catastrophic consequences for releasing a godeater" is the same in some people's minds as "mortals need religion in order to be good." it's the issue of our real-world religious metaphors running into the exandrian religious literalism again.

the problem then becomes that, in order to not take a stance of either "religion bad" or "religion necessary," he has had to create a plot for which all outcomes are the same, so bh just have to make the moral, philosophical decision on behalf of the entire world of whether or not the gods "deserve" to live. which is crazy! no wonder the players have constantly been plagued by indecision, second guessing, and lack of direction. by removing any distinct outcome either way, they've avoided making a statement that anyone might be upset by--and also created an ending with no substance or emotional impact.

honestly i feel like i could dissect this more, but i think the point has been made well enough: this campaign has died a death by a thousand cuts.

[batmanisagatewaydrug]

sorry to post about OUAT outside of the safety of the patreon corral but I just. truly cannot stop thinking about the bugfuck insanity of the writers deciding to drop in the seventh episode of their show ever that Regina has kept the same man as a sex slave in two separate realities.

like the nature of Storybrooke is that, having altered memories and lives constructed by Regina, I think almost everyone is off the hook for any sex under the effects of the OG curse—ie, Snow White might regret hooking up with Victor Frankenstein but the two of them were as on an equal footing as possible in the situation and both consented based on their understanding of reality at the time—with the obvious exception of Regina! who is extremely aware that everyone else in town is the most under the influence that maybe anyone has ever been in the history of the world!

which would be yucky enough if it was like, a bad situationship that developed organically in Storybrooke, but no man she was just recreating her setup in the Enchanted Forest where she kept Graham as a sex slave for god knows how many years. hello! hello!!! is anyone listening I'm going insane.

season one kind of revels in getting to roll out little reveals of Regina's litany of crimes via flashbacks to keep emphasizing, over and over, that she is insane and petty and willing to stoop to pretty much anything. in the first episode you know she's responsible for the curse that drives the entire plot, standard big bad stuff, but by the tenth episode you know she also kidnapped multiple children and sent them to their deaths in the candy house from Hansel and Gretel. which is obviously bad, no shit, but it's like. she's Snow White's wicked stepmother, she's the villain in a loosely goosey live action adaptation of classic Disney movies. endangering children for cruel and petty reasons is part of the territory.

but she also like. you know. she explicitly has a scared, trapped man dragged away to her bed chamber after she forcibly kisses him and magically rips his heart out of his chest specifically so that he can never defy her again. and then in case there was even a little bit of doubt left about what's going on there she continues to make his real world counterpart have sex with her, and even under a spell that's completely erased his memories of his old identity and life, he admits that his relationship with Regina doesn't make him feel anything. no one ever comes right out and says Regina is using her power as the mayor to pressure him into it, but that would frankly be mild by her standards.

I can't even quite articulate why I'm so hung up on this except that it's like, so jarring to have Regina do so many over the top cartoon crimes with her magical murder and mayhem and then also slip in oh, btw, she's also a rapist! she raped that man!" especially when you factor in that, based on my memory of the show and general understanding of what mind of show this is, no one is ever going to acknowledge that. when Regina starts her good guy redemption arc and other characters try to hold her accountable for things it's always going to be "you killed Graham" and never "you killed Graham after raping him repeatedly for many years in two different realities." no one is ever going to talk about that.

except for me, because I'm stuck watching six and a half more seasons and I will not be able to forget.

[morallysuperiorlips]

Writing a Female Character? Keep These Tips in Mind!

Messy is GOOD: In a world where everyone seems to want to write a demure and mindful woman, or a put-together gunslinging “not like other girls” badass, do us a solid and show us the messy girls. Show us the girls who are god awful at coping with their trauma. Show us the girls who are fucking trainwrecks in their daily lives. Show us the girls going through it, and going through it poorly.

Don’t dumb down your male characters to match her freak: I don’t know who needs to hear this, but PSA—making your male characters seem stupid in comparison to your female character doesn’t do any favors for her or your narrative. Dumbing down other characters for her sake might have the opposite effect of what your intentions are. There is nothing wrong with writing a smart woman alongside smart men. In my humble opinion, it makes for better storytelling when everyone is on the same page.

If you would do it for a male character, do it for your female characters: This is something I don’t think I need to explain, but I’m going to do it anyway. If you have a male character, and you go through the hoops of defining his goals, establishing his emotional depth, giving him his deep-set purpose in the story, developing his relationships with other characters, etc., then guess what? You can do those same things for a female character. The only difference between them is their gender, but both sides are equally as capable of being nuanced. This also applies to actually writing the exposition. Would you spend 6 paragraphs describing the figure of a male character? Or focus so heavily his physical traits that they start to define his character? If not, then don’t do it for your females!

Gender roles can get fucked: Of course, if your intent is to write a story with more “traditional” gender roles for whatever your reasoning is, more power to you. But if not, they hold no power over you, your story, or your fictional ladies. If the plot allows it, find ways to venture outside those societal norms, whether that’s in the way your female character thinks or acts, or what her occupation is, etc.

Strong female lead =/= emotionless, tough, “badass”: When a lot of people think of a “strong female lead,” they think of women who seem to defy the traditional female role in a story. As a result, you usually end up with these hardcore gals who appear to be written as a sort of an antithesis of what society thinks are “feminine traits,” with emphasis on how little emotion she shows, how “tough” she is, and how she overtakes every situation she’s in. These are NOT bad traits to put in a woman; not by a long shot. But the best characters are nuanced—she’s not always going to be in a state of low-emotion toughness. She’s not always going to be this perfect beacon of leadership. She’s going to have lapses in judgement. She’s going to make mistakes. She’s going to grow and change, just like all people do. And that doesn’t subtract from her being a “badass.” Women are fully capable of being “badasses” while working through mistakes, hitting their lows, or showcasing some vulnerability.

Remember her agency: I said previously that you shouldn’t be dumbing down male characters to bolster her, but that’s not an excuse to wreck her agency in the story. Her decisions within the plot should still matter, and they shouldn’t be entirely based around or influenced by other characters just for the hell of it. Not everything she does needs to be for someone else; she is her own person, with her own reasons and goals behind her choices.

[ilikekidsshows]

On one hand, Ive been saying ever since Kuro Neko that Marinette has a god and victim complex and thinks reality starts and ends with her which constantly leads to people ending up much worse for it (Adrichat in particular) and nothing significant getting fucking done because of how irrelevant Marinette herself is

So sure, you can bet your ass i feel validated by the "Ladybug will decide for the world what the truth is" development and how much worse everything is clearly about to get. In that sense, I'll sure have the time of my life now lol

But on the other hand, nah, I still never wanted this. I'll have my fun with it now that I'm proven right because of how awful the emotional journey was for me watching all this unfold. I wasn't even surprised by Kwamis Choice or the season 5 finale, that was imo obvious ever since season 4. At this point, I'll just enjoy it as a salty bitch. Fuck it, I earned that when I called these awful plot resolutions years ago and I only get further validated for what I "salted" on Marinette.

Or, wait. Is it even SALT when I continue to be proven right over and over again? Sounds like I'm reading it RIGHT while Marinette fans still go on disregarding 90% of the show and then call themselves FANS Lol

---

What a time for the fandom, when describing what happens in canon counts as salt. Every single time "non-salty" people describe the actual, canon episodes, they have to accompany it with constant refrains of “but Marinette is really stressed”, “but Marinette is in a really difficult spot”, “but Marinette isn’t the only one doing these things”, “but Marinette is too young to be in this situation” or my beloathed “but Marinette has good intentions”.

That's why I've decided to embrace the salt.

Here's a really salty take: if Marinette is so incapable of answering for her actions, then maybe she shouldn’t be taking on so many responsibilities to begin with. According to all these defenses of Marinette, these supposed good faith takes on her behavior, she is too incompetent or emotionally compromised to be expected to act in a moral way, too young to make sound decisions about anything, too paranoid or blinded by her own sense of moral superiority to take perspectives other than her own into account and too weak mentally to handle her boyfriend having emotional needs.

If Marinette really is this incompetent and incapable, maybe she shouldn’t be having everyone else lie to Adrien based on her judgment call. If she really is so mentally weak that she can’t handle the grieving and changing of his world view that her boyfriend needs to go through in order to live his life to the fullest (or as fullest as a remote control robot can get), maybe she should just leave that to the other people in the know. Kagami wants to tell Adrien the truth, let her. And let her deal with the aftermath, too. Meanwhile Marinette can just skip off to be worshiped by her parents, friends and ex boyfriend, now that he’s back in town.

Yeah, Marinette would be the most selfish girlfriend ever for just dumping Adrien until he stops being sad, but she’s being one regardless. The only thing different is that then Adrien would know and maybe he’d reconsider if such a one-sided relationship where he’s expected to give all the support while receiving none in return is what he really wants and needs. Maybe Adrien should know, not only what he is and who his dad really was, but who his girlfriend really is: someone too weak to be his partner not only for the better, but also the worse.

[wizardsix]

ok... so I have finally finished veilguard after about 90 painful hours (two playthroughs). im not gonna write an actual review about all of my detailed thoughts bc it'll actually take days, this is just to at least get my general thoughts out and see if anyone else feels the same or if ive actually lost it.

overall it is the weakest dragon age game story-wise, and I'd give it a nice lukewarm 4/10.

(i wrote this post right after I finished the game on the weekend so maybe I sound a bit harsh, I tried to edit it to be more reasonable lol but I didn't really want to delete this since I do still stand by a lot of this)

I really tried to go in with an open mind, bc I always want to experience media in full before making any kind of judgement, but about a few hours in I had this horrible feeling that once again this was another soulless, rushed game, and I still don't feel any different after finishing the game.

what stuck out to me was that there's no sense of urgency despite what the plot is, serious topics are not treated with care as the writing overall is shallow, and the gods as well as any other enemy you encounter are just cartoon villains (and apparently the lore retconning, but I'm not well-versed enough to dissect that so I won't).

I can't take this plot seriously when it feels so disjointed and forced and lazy. and I see no point in caring about anything when choices literally don't matter. no say in who you recruit, no say in the relationships with them and they have almost no awareness of rook, definitely doesn't matter if you have allies or not bc they show up anyway, and only four companions are locked into unavoidable decisions where one of them bites the dust no matter what (which is strange bc why are harding and davrin forced to die no matter if they're at hero status while bellara and neve can literally survive blight if they're at hero status), so it's impossible to try to strategize for better (or worse) outcomes with all the people you've gathered when there's only one right answer that the game pretty much tells you instead of letting you think for yourself (and side note this game does an incredible amount of hand holding). the game actively tries to trick you into thinking your choices matter with the onscreen notifications, but nothing matters bc the devs clearly had only one story in mind and for some reason lied that it had "complex choices".

also rook in general wasn't interesting as a protagonist bc they were written to be perfect. they always know what to say and are so supportive of everyone. they never struggle with anything. not even with leadership beyond "man leading a team is hard :/" but it doesn't actually show how hard it is by having actual volatile conflict between the companions* or showing how their plans sometimes fail. which, if we actually had choices that mattered, would have helped develop that struggle. also? what's with everyone being so friendly? I'm not gonna get into that but everyone is so eerily nice and it's been said a lot but yeah, the world is extremely sanitized and devoid of any real conflict aside from the gods I guess.

*(like off the top of my head cassandra fighting with varric and accusing him of not being on their side or how the inquisitor can literally punch dorian and solas if approval is low enough or fenris and anders bordering on killing each other is not the same as lucanis and davrin distrusting each other or people being uncomfortable with emmrich's necromancy. it just scratches the surface of conflict and never goes anywhere)

and let me say real quick again, there's nothing wrong if they wanted to make a more rigid story about being a hero. it's been done a million times and it can be executed well, but if you do that you need to make sure you 1) don't lie to people and 2) actually flesh out your (especially main) characters and plot to give people a reason to care. look at dragon age 2. hawke is a fixed protagonist with their own life front and center. they ultimately only have two choices (siding with mages or templars), but it works bc the game took time to build up the conflict straight from act 1 so by the time chaos happens in act 2 and 3 you understand why bc it's Been brewing the whole time. it just makes sense. the villains as well have sound reasons and feel real instead of being evil just bc. the story is more grounded, yet you have choices. you decide if hawke ends up alone or not. you decide how they approach situations with force or diplomacy. there's none of that in veilguard. a game that supposedly took 10 years to make. when dragon age 2 took almost 16 months (yes I know da2 also has problems like the fact that the templars are always proven right but this isn't the place to dissect that).

I want to be fair though and I do want to restate what I enjoyed about the game. the cc (though would it kill them to have more variety in face textures like age and body types beyond average.. also no colour wheel... especially since they claimed their cc was so good), the map progression/visuals/exploration (how certain places become more blighted overtime), the factions (though I feel there should have been more content for your faction, and helping them or not should have mattered more), the combat (did not feel like a slog, pretty fun and mindless), the companions (bellara, davrin, emmrich, harding, and lucanis had solid personalities and stories despite my complaints. neve was not memorable and I just feel sad for taash's bad writing), certain parts of the story were good, the intro and the point of no return sequences were solid, and the ending didn't feel rushed or boring compared to inquisition. and yes, I do appreciate that rook can be trans, I just think a little more subtly and care would've been nice.

another thing I did like and predicted was that varric died at the beginning of veilguard, and for a second I actually enjoyed that because i thought we were finally (a bit too late tho) getting some depth to rook and their own struggles of accepting his death and carrying this weight without him. and while I do think maybe they should've taken more time to establish the mentor/mentee relationship so we really feel rooks regret, I still think it was at least the right direction where in their grief they still see him, giving advice and narrating their journey.....but then it turned out to just be solas manipulating them the whole time, immediately destroying any emotional weight this reveal had.

whenever bioware has good ideas they shoot themselves in the foot and make it about solas. it's like nothing in the world exists without solas being involved somehow, and that is just incredibly boring and uninspired to me. not to mention solas just being an insufferable ass the whole time, which is fine, but it's not even in a compelling way like he used to be. he became so ugly by the end and the fact that the devs consider redeeming him the "good ending" and not giving him what he deserves is very telling and once again shows their own bias is king over good storytelling (solas' feelings should not come into play here, whether you/your companions live or die should determine good/bad ending since solas is trapped no matter what, only difference is who is trapped with him. idk but I personally think different endings actually means different outcomes). i will not go into the bs of the secret post credit scene, bc frankly I'm fed up with bioware's shitty writing and I won't be playing their next world ending space aliens game (unless they miraculously pull a good story out of their ass but lbr).

overall the bad outweighs the good for me. it's fun to play as a game, it's a decent fantasy game, but the story just doesn't do anything for me. sometimes I wonder if dreadwolf was a completely different game and was scrapped for veilguard last minute. maybe this was yet another inevitable industry fuck up and maybe there was a good story planned at one point. idk. all I know is bioware lied. respect and credit to the poor devs and writers who actually cared and to those who were kicked from the project, but in the end bioware promised too much and delivered too little.

[intogenshin]

Sumeru's war on Nietzsche (part 1)

One of the main themes of the Sumeru chapter is the victory of altruistic values over egoism, specifically the egoism in Friedrich Nietzsche's philosophy. 

I want to point out these connections so we can agree from the getgo on Nietzsche’s presence in the chapter:

Kaveh defeats nihilism in Parade of Providence, and the defeat of nihilism is one of the main goals of Nietzsche's philosophy

Achievements in the Khvaena of Good and Evil quest are named after Nietzsche quotes

Sumeru is mostly inspired by India, Iran and Egypt, and Nietzsche had a bone to pick with the philosophical influence of all three in the west

The themes of egoism and altruism are explored through the work of western philosophers and the philosophy of eastern religions, following the real life historical interrelation of both. And because the outcome of this confrontation favors altruism more, I also think it can be interpreted as a rejection of western values of individualism as a whole. 

Nietzsche has the leading role for this analysis for clarity's sake (or else it'd end up in 15k words) but the philosophical material used in the region is vast and varied. 

Egyptian influence

Nietzsche blamed Egypt for influencing Greek philosophers like Plato (public enemy #1 of Nietzsche) in his conception of goodness. Philosophers of ancient Greece would go on to influence western philosophy and institutions. 

Nietzsche thought that developing the idea of objective goodness which one should aspire to and be governed by is where the ancient Greeks went wrong as a society, disrupting the balance between the rational values of the god Apollo and the frenzy of the god Dionysus that made ancient Greece an ideal society in Nietzsche's eyes. The clash of order and chaos is what made Greek culture rich in his opinion, so introducing a code of ethics ruined the dichotomy. 

This concern with goodness was of course Plato's fault, who most likely was influenced by the Egyptian concept of Ma'at. Ma'at can basically be understood as a moral principle that guided both Egyptian society in its religious beliefs and its institutions. 

In Genshin Cyno’s character is inspired by the god Anubis and one of his main motifs is the scales, his personal drive is also the pursuit of justice and order. This is likely because in Egyptian mythology Anubis weighs the hearts of the deceased against the feather of Ma'at. 

So here we have the character inspired by Egyptian culture who personifies the ancient concept of morality that Nietzsche blamed for ruining a society he considered advanced. 

Indian influence

The philosopher Arthur Schopenhauer was initially Nietzsche's role model, but he'd later become his biggest critic due to the ideas promoted by his philosophical system. 

Schopenhauer borrowed elements from dharmic religions (Buddhism and Hinduism) to construct his ideas, mainly the concept of Brahma (a universal consciousness which originated all creation and it therefore presents the world as a unity) and the concept of desires as the basis of suffering (therefore desires have to be suppressed).

Nietzsche considered this philosophical approach to be pessimistic, arguing that it easily led into nihilism. He thought similarly about Buddhism (although he held it in higher regard than Christianity) for being a religion that denies the self and devalues the world, only considering it a transitory illusion that had to be escaped. Nietzsche aimed for the complete opposite: giving value to the world as it was and indulging in one's own individuality, independent from collective constraints. 

In Genshin I think the concept of Brahma is close to the plot of the sovereign dragon Apep, who creates life that later goes back to it in Nahida's second story quest. Buddhist philosophy is covered in Wanderer's arc, which I analysed here. 

Iranian influence 

Iran and India share common ancestors, so their religious practices also have common traditions (such as the worship of nature), hence why they largely make up most of Sumeru’s inspiration. The ancient religion of Iran is called Zoroastrianism, things like the Akademiya darshans and the House of Daena are named after its religious principles, as well as the overall region where the quest Khvaena of Good and Evil takes place. 

Zoroastrianism was founded by Zoroaster, who conceptualized the world as a conflict between good (originated by the creator god Ahura Mazda) and evil (influenced by the entity Ahriman) where humans have free will to choose between the two. 

This cosmology would later influence the abrahamic religions (Judaism, Christianity and Islam) and, in Nietzsche's view, originate the western perception of morality he was critical of. 

He used the prophet Zoroaster (known in Germany as Zarathustra) as his own character in the book Thus Spoke Zarathustra to voice his ideas of a new kind of man that could overcome this morality that Europe had submitted to under the authority of Christianity. This way, since Zoroaster was the one to introduce morality to the western world, so would he be the one to denounce it. 

Historical context

The philosophical confrontation between egoism and altruism began in the aftermath of the French revolution, when European countries formed into republics. The threats of democracy, liberalism and socialism loomed over the aristocratic class and the societal status quo, which produced reactionary responses in the shape of individualism and egoism: the exaltation of the individual over the collective majority. 

Nietzsche himself took part in (and built his ideas around) this reactionary response, he argued that the purpose of society was producing culture, which could only be achieved by the subjugation of one class to support the elites who could produce the art that the inferior class was supposedly incapable of producing. He denounced democracy, the egalitarian cause of liberalism and the class equality of socialism of attempting against this purpose, and he used the altruistic values of religion as a scapegoat that collectively addressed the three.

Nietzsche's philosophy 

In this sense, Christianity was a method of control to suppress the individual from the basis of resentment —here's where the master and slave morality dichotomy he authored comes from: the subjugated class, in his theory, motivated by feelings of resentment and powerlessness against the elites, would develop values of humility, altruism and collectivism in order to morally place themselves above the “masters”. 

For Nietzsche, this dominating morality was limiting and produced no worthy culture or arts, and without a purpose society was doomed to fall into nihilism (a state of being devoid of meaning). He identified the pessimistic approach of eastern religion (like the influence they had on Schopenhauer) and the slave morality of western religion as the culprits of nihilism, as well as the conformity of the “last man” (as he called it) who didn't aspire to anything beyond what was imposed on him. 

Nietzsche's main existential problem with religion was the devaluation of the world and the individual, treating both as transitory towards a “beyond” where value was placed instead (Nirvana in Buddhism, Heaven in Christianity, etc), and he sought to return this value to life through the concept of the ubermensch (“overman” or “superman”): a man who would embrace existence as it is and redefine the values of society beyond morality with his own independent and individual values. 

So, to summarize, Nietzsche “blamed” Greek philosophy (which was influenced by Egyptian morality) and Zoroastrianism (the ancient religion of Iran) for the Christian dominating morality of Europe, as well as eastern dharmic religion for influencing western philosophy and leading society into nihilism. In his view, religion (and its morality) was a method of control that had to be overcome to return value to the individual. 

The setting of the Akademiya

The Akademiya's original Chinese name is Sumeru Institute of Religious Decree, which means it acts as a religious institution that treats religion and education as one and the same. This church of knowledge also grants power to its elite class (formed on the basis of academic merit) who rules the nation as an extension of the god of wisdom. 

The Akademiya plays three roles of authority at the same time: spiritual, educational and political, all three which serve as a means to control and shape the values of the population. The Akademiya decides which knowledge has worth and which material is allowed to be learned, it decides which faith in which god has value or is allowed to be practiced, and it decides who occupies positions of political authority and who can access the education necessary for class mobility. 

In short, the Akademiya is a form of governance that has the power to define and limit the values of society: its rules, beliefs, morals, ethics, hopes and even its dreams.

However, unlike Nietzsche's assessment, it's egoist values that dominate Sumeru under the Akademiya's guidance. 

The culture of the Akademiya separates people into the ordinary and the extraordinary, those who live in submission and those who stand out. There is no community between scholars, only associations where each party must benefit for the duration of the projects they collaborate in, then they are terminated. 

"Relationships are merely a byproduct in this exchange of interests. They may be pleasant and captivating, but they can only ever be secondary. When scholars collaborate to solve difficult problems, we freely share our knowledge and resources with one another, as if we were all kin. However, this collaboration ends after the results of our work are published. The reason is simple: We are scholars, and there are new projects that await our attention."

This type of association described in Nilou's story quest seems very similar to Max Stirner’s Union of Egoists, an idea he proposed as an antithesis to communal society where individuals conceptualized each other as “property” that either has or doesn't have use in one's life.

As Paul Thomas summarized, Stirner believed that “we should aspire not to the chimera of community but to our own “one-sidedness” and combine with others simply in order to multiply our own powers and only for the duration of a given task.”

Egoism and God

Max Stirner was the first philosopher to publish work on egoism with The Ego and Its Own in 1844, his influence on Nietzsche is contended due to the similarities in the foundation of their ideas. 

It was Stirner who first presented the concept of the death of god, meaning that society could no longer hold on to religious beliefs disproved by the scientific advancements of the Enlightenment. Nietzsche would later coin the phrase “god is dead”, and both identify man as the killer, although Stirner argued that the god of religion had been replaced by the god of humanistic values and Nietzsche proposed for man to become god himself.

Here's Stirner's quote (The Ego and Its Own, 1844):

At the entrance of the modern time stands the "God-man." At its exit will only the God in the God-man evaporate? And can the God-man really die if only the God in him dies? They did not think of this question, and thought they were through when in our days they brought to a victorious end the work of the Illumination, the vanquishing of God: they did not notice that Man has killed God in order to become now—”sole God on high." The other world outside us is indeed brushed away, and the great undertaking of the Illuminators completed; but the other world in us has become a new heaven and calls us forth to renewed heaven-storming: God has had to give place, yet not to us, but to—Man. How can you believe that the God-man is dead before the Man in him, besides the God, is dead?

Here's Nietzsche's quote (The Gay Science, 1882):

God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?

Both likely drew from the work of Ludwig Feuerbach on religion as a projection of human ideals into divine attributes. For example, omnipotence reflects human desire for control and power, while omniscience reflects human thirst for knowledge and aspiration to overcome ignorance. 

Sumeru’s ubermensch 

The plot of the Sumeru chapter presents a nation in the aftermath of the death of their god, Lord Rukkhadevata. The political class struggles to accept the new god left in her place, as she's far from representing the ideals of wisdom they aspire to project on their archon, and thus fails to provide meaning for scholars’ quest for knowledge. 

The sages then set out to manufacture an artificial god with their collective human wisdom, a projection of themselves in the vessel of a god, transcending all established ethical (and moral) boundaries. 

The vessel for this artificial god has his own motivations, which in the fairy tale that stores his memories it's depicted as such:

They essentially create an artificial ubermensch capable of redefining values, but the real ubermensch is found behind the artificial god itself.

Crime and punishment

Nietzsche called Fyodor Dostoevsky the only psychologist he had anything to learn from, as he was deeply influenced by the psychology of his novels —of which he read botched translations that didn't quite transmit the author's philosophy, but still. 

The novel Crime and Punishment has a protagonist that represents the opposite of the author's beliefs, who happens to be quite similar to Nietzsche's idea of the ubermensch or the higher man. This character justifies his crime (a murder) to himself arguing that people are divided into the ordinary and the extraordinary, and the extraordinary have the right to commit crimes if it allows them to put forward their extraordinary contributions to the world. 

From Crime and Punishment:

“Ordinary men have to live in submission and have no right to transgress the law, because, don't you see, they are ordinary. But extraordinary men have a right to commit any crime and transgress the law in any way, just because they are extraordinary.”

“...if the discoveries of Kepler and Newton could not have been made known except by sacrificing the lives of one, a dozen, a hundred, or more men, Newton would have had the right, would indeed have been in duty bound…to eliminate the dozen or the hundred men for the sake of making his discoveries known to the whole of humanity. But it does not follow from that that Newton had a right to murder people left and right to steal every day in the market.”

The protagonist sees himself as an extraordinary man, therefore, his murder is justified in contribution made to the world in exchange. 

For Nietzsche, who sees life conditioned on the dominance over the life of others, a criminal is a man whose primordial human impulses to exercise power, which in the ordinary men have been suppressed by the dominating morality, have found an unconventional outlet through crime. Thus, a criminal is a symptom of a sick society that has domesticated itself out of its own nature.

The criminal as a glorified outcast, a rebel against modern society whose abhorrent behavior is a healthy instinct that denotes potential —at least symbolically, he wasn't calling out to people to commit crimes per se. 

While Dostoevsky wrote the protagonist of his novel to struggle with guilt in the form of an illness and allowed him to find salvation in facing punishment for his crime, Nietzsche holds the criminal in high regard, seeing guilt as something beneath him. 

This archetype is popular in media with characters like Hannibal Lecter, and indeed, many fans of the game expected Alhaitham or Scaramouche to fulfill it, but the character that truly embodies the outcast genius is The Doctor.

Dottore commits crimes against others to carry out his plans, never feeling guilt or shame. He was expelled from the Akademiya precisely for violating the ethical code all scholars are governed by and, as Nietzsche's ubermensch, aims to redefine the values of the world by collaborating with the Tsaritsa to “burn the old world.” 

However, Dottore is the antagonist of the chapter, and the attempt at manufacturing the artificial god is depicted as an act of hubris, not a brave crusade against the restraining morality of religion. Furthermore, both the sages and Scaramouche face punishment (in their own way), something Nietzsche would disapprove of in an appropriate higher man. 

Looking back on the Akademiya, the scholars seem to suffer under the culture of egoism and competition so well established in the institution. 

They're often disoriented in their life, contrasting with the villagers who know themselves and their place in the world. 

And the god the sages had dismissed as unworthy is reinstalled as the archon, maintaining the institution as it was while taking down the Akasha, the method of control of the sages. 

Nietzsche’s egoism is rejected by the narrative, it raises and it falls in the course of the chapter, but what does this mean for the region?

Part 2 will examine how the narrative engages with the philosophies of altruism and how both egoism and altruism converge in the characters of Alhaitham and Kaveh

[sequence-trotter]

i liked hsr 2.2 generally but man they sort of dropped the ball on a very classic and simple plot

traditionally when a bad guy is like "arrrrgh the world is bad and upsetting and painful, i'm going to jam everyone into the lotus eating machine and give them all perfect dreams and everything will be good,"you provide an additional, further reason in the fiction why retreating into the perfect dream (i.e. escapism and conscious blindness to the evils of the world) is bad. the infinite tsukuyomi is slowly draining the lives of those bewitched for someone else's power; no one else in the holodeck is real; while your every wish is being fulfilled, other people are dying.

but they didn't do this for sunday's plan. that's not bad in itself! stripping away that layer of "practical" concern and turning the conflict into a true ideological tussle can be pretty worthwhile. by demonstrating his awareness of those kinds of concerns, sunday sharpened his own point and made it clear he very sincerely wants everyone to be able to thrive.

the problem there is no attendant sharpening for the astral express and friends. their objections to it are pretty hazy: firefly bristles at the idea that she's seen as "weak," but it seems pretty obvious that the stellaron hunters (who, uh, seem to be at least indirectly responsible for plenty of death and destruction so far) are strong in sunday's reckoning; himeko points out that people will never suffer to live under the will of another, except that we just went over how many people already do (and even heroic figures like the express crew are subject to the whims of aeons); in theory you're fighting on behalf of the ostensibly "weak" people of penacony who don't want to live in a dream, except you never ask them and you only successfully wake them up because you explicitly summon a bunch of galactic superheroes with unusually strong resolve.

no one really engages sunday on his level. and worse, we actually see what his victory look like, and apparently it's a world almost exactly like the normal world except, implicitly, nothing "truly" bad happens to people. the game treats the idea of living in a dream where nothing bad happens as obviously fucked up...but we already have characters like black swan who literally exist only as perceived/remembered sensations rather than as physical people. there's a whole simulated universe with simulated gods with apparently sapient existences! the lines between dream and reality are already extremely blurred in the hsr universe. the game also doesn't ever clearly establish that everyone is in separate dreams, holodeck-style, and indeed at the very least black swan (who tbf is a memetic entity) is clearly actually inside your dream right next to you.

it's a shame, because everything with sunday and robin in the run-up suggests that they might actually engage on a slightly higher level than the game has handled a lot of themes to this point. the bird story creates an obvious space to explore the feelings of the one figure in the story whose feelings matter most but are never heard: the bird themself! but neither the bird nor robin get much of a hearing or a chance to develop their feelings or philosophies and the astral express crew can't muster much more than "freedom is generically and obviously good." it'll still work for many because "freedom is obviously good" works for a lot of people, but i found the turn pretty disappointing.

[neverpathia]

WIP Ask: I wanna know about Nerves and Nightmares [of course I do, Paranoid my beloved]. Tell us as much as you can / want without spoiling too much :]

also I love the HC of Paranoid being the resident overworked mom of the Long Quiet, it's the same for my Paranoid

okay.

let me preface this by saying that I probably know as much about this WIP as the average audience member. and why is that? because I actually didn't think about properly plotting it out.

if anything, I was just like "okay I wanna write stp fanfiction for my AU". and then I went ahead and was like "I wanna write it in first person." and then at first I wanted to make cheated the main POV character (so we could've had like 'Rages and Razors' or something I don't even know man) but then I decided. nah. paranoid's better for plot and he's my wife now.

so here we are. what an awkward start to a relationship.

i've blabbed a little about it in the main post so I shall blab a little more about it here. it's cosy fantasy. daily going-ons. a little slice of life. taking care of work. living and learning and changing. dealing with the other voices' bullshit. they all live together in a cosy little village, and he's the resident healer apothecary guy, and there's thankfully no shortage of bullshit to deal with.

this is a story of adaptation and new beginnings. this is a story of tying up loose ends. this is a story of development; of discovery and rediscovery. this is a story of learning to relax, of accepting your flaws, of facing your fears.

above all, this is a story of healing and recovery.

so obviously I had to focus on paranoid because COME ON he's the perfect pick. he's inevitably going to have to interact with everyone because of his job. so we get to see at least one moment with every single voice. he's also kind of unstable by himself, but he's gonna get at least a little better.

there's a truckload of character development. does that count as a spoiler? he learns that the world isn't out to get him, not anymore. that he doesn't have to be so on-guard and mistrustful all the time. and to fucking stop overthinking that much oh my lordy lord.

hero features pretty prominently in this. oh golly gee, I wonder why. totally not like they become boyfriends or anything of the sort. they totally don't learn to acknowledge their flaws through each other. that they might be more similar than they realise. that they don't have to be alone in navigating the overwhelming reality and endless expectations- okay, yeah, that totally never happens. /j

cheated does also feature quite a bit in here though, because he's the star patient. not because he's so cooperative, but because he's paid way too many visits to the infirmary and paranoid is very done. they have a kinda hilarious friendship. like "fuck. you're here again." just ranting back and forth about "god everyone else is so dumb, thank god I'm the only normal person here." (neither of them are normal.)

so if you like either of the above then yeah. nice.

also just because this is cosy fantasy and no one dies or anything, doesn't mean this is all sunshine and rainbows and 100 percent cruelty-free. far from it. for starters, I have made broken and smitten best friends and if you know how that one platonic smitbroken ficlet went then you will have an idea of how bad it can get. that won't be the only toxic relationship, or even friendship, up in here.

of course not. nightmare's roaming around somewhere in a fic where the mc is we-all-know-who.

and then there's the individual issues of everyone, left alone to fester. it's not just about paranoid. there's hero's guilt and remorse. cheated's bitterness and resignation. but there's still paranoid's overwhelming workload and ever-increasing stress. the fact that he has to deal with the traumas of both himself and his patients.

it's not going to be nice.

and there is at least one attempted suicide. spoiler: I haven't mentioned the perpetrator in this post just yet. wonder who he could be...guess lol. consider that my first warning.

like, I love psychological angst. no death or murder or downright destruction. just people left in the throes of their own worst qualities. that's my fucking speciality.

but we cannot have recovery if there is nothing to be saved from.

and another thing to take heed of: there obviously isn't going to be a lot of smut, but I'm a male writer. there will be women. there will be feminine characters.

so most of the time I'll probably end up fixating on Paranoid's large eyes and billowing hair and delicate features and slender frame and stuff. why? because wife. but sometimes the narration will veer into...uh, say, describing how buxom the Thorn is. consider that my second warning.

[salmalin]

Final Fantasy XII, Ashe, Vayne, "Us V.S. Them" Mentality, and What Makes a Hero

Something I really love about FF12 is that beyond the whole "free will" plotline that underscores basically every FF game, it actually has something else to say. And it gets pretty specific with it in a way that not many other media I've seen is willing to properly explore: the extremely thin line between hero and villain.

Possibly due to the disaster that was its development, Final Fantasy 12 was able to get extremely specific with its themes and messages, and the rush that occurred when a second team came in to finish for an entirely different team may have allowed for most of this to make it to the final game. It's also ridiculously topical and hits a modern problem on the nose—"Us Vs Them" Mentality, and the oversimplification that follows. This is something that I've only ever seen Terry Pratchett attack so violently.

The villains are not villains. They are people, like us. But more than this, they are only villains because of how they do things. But more than that...

The heroes are not heroes. They are people, like us. But more than this, they are only heroes because of how they do things.

In the eyes of a wider plotline, Vayne might have been the hero if not for his methods. This is made clear from the get-go. He's freeing man from the control of the Occuria, after all. He's fighting God—something you always do in the Final Fantasy games. What's worse, he was raised in a situation where his ruthlessness was not just an asset, but a necessity. He'd disposed of his elder brothers, and endeavored to build a world where Gods and Emperors did not dictate the movement of man—only him. It is, in my humble opinion, a response to excessive trauma from a young age. He is a brilliant character, beloved and loathed for his ability, and he is not arrogant about it.

Meanwhile Ashe is the last remaining descendant of Raithwall and seeks her country's freedom. Her characterization could have ended there and the audience would have been satisfied. Except it didn't.

She was angry. Arrogant. Uptight. She made rude assumptions about the people around her. And then...

Then Ashe decided to use the Nethicite.

And after her declaration, the first person to speak is the lowliest in standing of all in the room—a boy who'd seemed unimportant from the very start, who she'd degraded practically on sight. He'd been the most impacted by the war out of all of them; a boy who has had little to say up until this point besides seemingly shallow statements about theft, independence, and revenge.

"You even know how to use it?"

Vaan's words cut through the moment, changing the vibe instantly before Fran can take the scene. It's a good point, and highlighted a critical flaw in Ashe's thinking until that moment.

She doesn't. In a literal and figurative sense, this is the core of the entire story of Final Fantasy XII—Ashe does not know how to wield Nethicite. Not just as a weapon, but as a weapon.

There is rebellion. There is freedom-fighting. Then...

Then there's mass murder of civilians.

One of these things is not like the other.

But Ashe doesn't even see civilians. She's angry at Archadia as a whole for some reason—likely because they were "complicit" during the war. She sees them as all the same, and doesn't even think of them before suggesting using the uncontrollable Nethicite. She's convinced that her people will never get along with Archadians to the point where it's a plot point. She thinks they all want revenge. And seeing what we have until that point in the story... Yeah, that makes sense.

Until it doesn't. Until Vaan—the "unimportant" character mentioned before, the one who spoke, the main character everyone seems to overlook—actively does what she needs to do before it's even spoken aloud.

He trusts an Archadian.

He makes friends.

He puts aside his rage in favor of cooperation.

And he does this so casually that it's in the background when it happens. Until Basch brings it to her attention, Ashe didn't even notice. She was so fixed in her idea of what her people would want that it never occurred to her that yeah, maybe they do want this... in a moment of rage. A moment that would pass.

A moment that would pass in favor of guilt, horror, and disgust if she used the Nethicite.

We get to see Ashe's bloodthirsty nature before any of her other traits, but for Vayne we are shown he is charismatic, intelligent, and thoughtful.

It is Ashe who is the hero.

It is Ashe who is the hero because she does not fight with blinders on. Instead, she loses those blinders in no small part due to Basch, who points things out to her, and Vaan, who literally shows her the way. Vaan loses his rage first. Vaan moves on first. There's dialog around this a few times, and plot movements as well, and it's made pretty clear that every emotional development Ashe is going through, Vaan is going through directly in front of her and without the support that she had for so long. Vaan and Ashe are so acutely similar that it's almost alarming.

Vaan hates Archadians and then he changes his mind. Vaan hates Archadia until he changes his mind. Vaan hates soldiers until he changes his mind.

Vaan hates until he realizes that hate is a symptom, and to cure the symptom you can't just repeat the circumstances that led to the problem in the first place.

The main characters—the "heroes"—very nearly become the villains of a whole other country until they decide... no. No, we're not going to do this. No, we're not going to use this. Instead, we're just going to get rid of it. We're going to get rid of the chance of anyone using this great power again. This power would end the war in a split second before it could even begin. We've got so much of it, we could rule the world.

And then they don't rule the world. They destroy the ability to rule the world, and take that power out of the puppetmasters' hands.

You don't kill the occuria.

Heck, the only person they really kill is Vayne.

There is no "us".

There is no "them".

There are just people—people like us. And we are just as capable of being those people. One wrong step, and we become the people we hate most in the world.

There is no "us" and "them". You have no way of telling if a person is a monster on the inside. There's no way to look at them and know, or talk to them and know, or work with them and know. Vayne is charming and kind and gentle when he wishes to be, yet we only see Ashe's "undesireable" qualities.

She is the hero.

Ashe is the hero because where Vayne was prepared to burn everything and everyone to the ground for the promise of a day that might not come, she was not. Vayne was a battering ram where they needed a scalpel, and her team—six people with questions and some luck—was that scalpel.

Being a hero is not about being nice. It's not about being able to make connections or read a room. It's not even about how kind you are to others with your words. It's about what power we have, and how we are willing to use it. That is what makes a hero.

[paopaupaus]

part 8 of the Buddie Development Rant

part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 7 | part 8 | part 9 | part 10

S4:E4 9-1-1, What’s your grievance?

i’m sorry but the scene where Buck is punching the punching bag and Eddie is right beside it is kindaaa…

S4:E5 Buck begins

One thing that i can take away from Eddie and Buck’s interactions, especially in this episode, is that they understand each other like no one else. Eddie tells Buck that he knew why he had to go into that fire, and something in his eyes makes me think that Buck felt like he didn’t have to explain anything to Eddie

S4:E6 Jinxed

bonus: did anyone notice all the women checking out Buck at 13:56 😂

and then Buck looking angry/confused when eddie said he had a date with Anna

S4:E7 There Goes the Neighborhood

why did Buck have to go on a date with the most annoying woman ever, i think it was weird timing with Eddie starting to date again.

And then they decide to keep her as Albert’s gf, but all of her traits are gone now? i felt like they introduced an anarchist and pessimist and then she starts dating Albert and it all goes away? plot device smh

S4:E8 Breaking Point

Buck babysitting Christopher while Eddie’s out on his date :”) and when he’s home Buck asks how did the date go and Eddie tells him “she taught me math” and he wasn’t lying??

S4:E12 Treasure Hunt

Eddie heard treasure hunt and immediately told buck we’d make a good team :) it was cute seeing them running around trying to find it, although Eddie did look sad when he found out Buck had already partnered with Taylor :(

S4:E13 Suspicion

Carla talks to Eddie and tells him that he needs to listen to his heart and not only to what Christopher needs.

At the end of the episode Eddie is shot, right in front of Buck, the world literally stopped and they looked into each other’s eyes. 😭 then when they are both on the ground Eddie reaches out with his hand to Buck. and it is said that Oliver (Buck’s actor) got their silouette tattooed after filming :”)

S4:E14 Survivors

ooohh my god. following the gunshot Buck pulls Eddie out of the middle of the streets and then carries him to get him in the truck (hot? 😃) in the truck Buck is tending to Eddie (is it a bad time to say that i love how Buck’s voice gets all high and pitchy when he’s freaked out?)

Buck “hey hey i got you, hey just… you just stay with me okay?” looking into his eyes 😭✋

Eddie “are you hurt?” (cause Buck was covered in his blood) honey you’re bleeding how can you focus on Buck (no but also let’s never forget Eddie is a BAMF who also pulled out a convoy from open fire in the war)

Buck “i need you to hang on” x2

Buck is COMPLETELY out of it shaking so much, but still all he wants to do is go with Christopher and be with him.

when he gets the news that Eddie is out of surgery he breaks down crying. guys idk about you but this doesn’t seem like simply just a friendship.

Anna calls Buck to tell him that Eddie woke up, first of all he makes sure Eddie makes a facetime call with Christopher.

Eddie “appreciate you staying with him”

Buck thought Chris should stay somewhere he knew, because carla offered to take him to her house.

Eddie “you were there for him when i couldn’t, that’s what matters.”

i love these two together, they aren’t just a bromance, they jumped straight to functional family.

Eddie babytrapped Bick, he made him Christopher’s godfather 😭 also i don’t see the big deal? a lot of people have said that it was wrong for Eddie to do that but Buck would 100% be up for the job and he already has a village that could help

“no one will ever fight as hard for my son as you”

i think this is the first time Eddie calls him Evan and it is so cute 😩

“because 😒 Evan 🙄 you came in here the other day and you said you thought it would have been better if it had been you who was shot😠”

with this we finish season 4 🫶 i’m glad i got addicted to this show because there’s so much contect and i love every single character, hope you have a great day/night and feel free to comment so we can chat!

[happypanda101]

How Sakura’s Love Interest Ruined Her Character Development

Alright. I promise this is the last Sakura related content I’ll do for a while. But after seeing several other people on here talk about about this subject, I thought it would be interesting to discuss. This isn’t gonna be a full on analysis, rather my thoughts as someone who loves Sakura and was disappointed to see how her character was handled in canon.

I think a lot of the fandom can be agree that Sakura’s biggest flaw was her love for Sasuke. Love is typically supposed to be a character’s strength, but unfortunately for our pink cherry blossom, it’s her weakness. And her downfall.

Now, I’ve already made it clear what my feelings on SasuSaku are. I like the pairing, they could have been better developed and aren’t nearly terrible as people claim they are. However, it would be ignorant of me to not acknowledge that canon Sasusaku is… kinda shitty.

Don’t get my wrong, they have their cute moments in blank period, like Sasuke asking Sakura to wear the clan crest, but things start going downhill when they get married and the plot of Burrito rolls around. Sakura is left to be a single mother while Sasuke is off god knows where for that stupid space alien/ “remains of Kaguya” whatever plot. Sasuke never writes to check up on his family, it’s implied that Sarada doesn’t remember him at all or what he looks like, and Sakura is left there trying to assure her poor daughter that Sasuke is doing this because he loves them. But when Sasuke comes back, he rarely acknowledges or wants to spend time with them at all. Not to mention, he seems to care more about Naruto’s kid than his own. Naruto suffers from this problem as well, but that’s a discussion for another time.

For the canon endgame, Kishimoto certainly doesn’t write any of his characters being happy in their relationships.

Anyway, Sakura and her character development. It may not have been grand as her teammates, but it was still there. Sakura went from a naive girl that was obsessed with boys and her looks to someone who acknowledged that she had to work harder if she wanted to help and protect those she cared for. She went from disliking and envying Naruto to someone who was willing to throw her ninja career away so her friend could follow his dream. She wanted to help Naruto to bring Sasuke back, but realized she wasn’t strong enough, so she went to Tsuande for help and become a damn good medical ninja as a result. She became more confident in herself and was always there to support her friends. She never needed an epic fight or a tramatic backstory, I would say her development was pretty great.

But then all of that gets thrown away whenever Sasuke comes into the picture. Sakura may be able to stand up for others, but never does she stand up for herself when it comes to Sasuke. When he belittles her in the War Arc for simply asking him what was going on, she gets all quiet and sad. Defeated. Worst part is that Naruto can’t even stand up for her properly.

The kunoichi who broke off Kaguya’s horn and aided in sealing her, therefore saving the world, is left a begging, whimpering mess for Sasuke to come back to her, to come back to team 7. And what does she get in return? A genjustu of him killing her.

And just when you think oh this has to finally get her to realize that she can do so much better than him, or at least get her to step back and reevaluate her feelings, let her spend time away from him, it’s just forgotten about! Forget traumatizing and hurting her, it’s okay because Sasuke apologized and now she wants to go with him. Don’t get me wrong, I do think that was a genuine apology, but the fact that she was just expected to forgive him at the snap of a finger was infuriating. And down right sad.

It doesn’t help that nobody else comments on it, or tells Sakura “hey, what he did was pretty shitty, you didn’t deserve that.” Or stand up for her at all. Kakashi kinda did, but it was so weak.

In Naruto, a woman’s role is to support the men, because what else are they good for? And if they ever move on from a guy they like, they’re a “terrible person,” in Kishimoto’s words. Whatever improved or developed Sakura’s character, it reverted backwards or was simply forgotten for Sasuke. Because Sakura loves him, she can never disagree or argue or fight with him, because that would make her a bad person.

Sakura had the potential to become one of the greatest heroines in anime, but that was all thrown away becasue of her misogynistic creator and his idiotic editors. She deserved better, every female character in Naruto deserved better, and burrito should have never happened because it’s an abomination to the Naruto franchise.

[childotkw]

Can we hear a bit about your original stories? I just started writing one and it is So Hard just to come up with the characters and their environment so I wanted to hear how you came up with those if you didn’t mind

Very interesting question! For me, a lot of my ideas come from wisps of inspiration from tropes or other concepts.

Characters and worlds and environment go through some pretty intensive edits in my head, so the roots aren't always obvious - and often I smash together multiple ideas, carving and chopping and smoothing things out until I have something workable that gets me excited.

(Buckle up, this post might be a long one)

Coming up with a concept

I'm not sure how it might work for other people, but I am constantly on the look out for inspiration for stories - asking myself 'what if this happened?', 'how cool would it be if this person had to do this thing?', or 'how could this trope work in a different genre?'.

Keeping myself open to these kinds of outlandish and sometimes hilarious thoughts means I've trained my brain to constantly churn up interesting concepts and ideas. Some barely have life breathed into them before I'm moving on. Others cling to me and live in my head for years.

The point is, be on the hunt for interesting ideas, and let your imagination have room to run free. Don't get boxed into an idea in its infancy. Let it grow crazily, let it get wild, before you break out the pruning tools. You're human. Let your mind have fun. Let your imagination explode.

Coming up with a character/s

So when I'm thinking of a character to inhabit my crazy new concept, I tend to go for vibe before anything else. I ask myself things like:

What kind of character do I really want to play with? Good, bad, morally grey? Cool, morally grey it is.

What species do I want? A god, a human, some fantasy creature? Human.

What type of human? A fighter, or more cerebral? Both? How 'bout a strategist? Okay that works.

And I go from there. I basically build a vague construct before worrying about things like physical description, name, age, gender, sex, etc. Those come later, once I've got a vibe I find interesting for a main character. Then comes the fun part.

Bringing concept and character together

For this to work, I've gotta figure out how these two elements to interact. To do that, I ask myself a whole bunch of questions.

How does my shiny new character fit in this world? Are they a grand figure or are they a nobody? What do I want them to do? What challenge would be interesting to watch them overcome? What can only they do? Why should my audience care about this random little guy?

This is normally where plot comes to me in fits and bursts, and once I have an idea on the overarching aspects, I start hammering out the finer details. This is where I really let my imagination out to play. I go wild, spinning off in multiple different directions, chewing on ideas and concepts and finding what works best for me.

Here you can also start developing things like other characters, relationships, dynamics, worldbuilding (e.g., currency, religion, factions, hierarchy, magic, science, how the bloody postal system works, etc.).

An example (through a conversation I regularly have with myself)

So, here's an example of an idea I've been playing with the last week.

Coming up with a concept

Okay! I've been inspired by the Old Guard, so I want to explore immortality and the idea of humanity and what life actually means. But how do I make this concept even cooler? What would make being immortal hard to conceal in a modern world?

How about instead of a modern world it's a futuristic society where everything is captured on some form of phone / camera / recording - and that makes dying and coming back to life extremely difficult to get away with. Where it's getting harder and harder to be able to cover their tracks, where falling through the cracks of society is damn near impossible with instant identification and other such measures.

Nice, nice. What else? How does the immortality work?

From the moment of their first death, the person now has increased healing and cannot age; though they can physically change (i.e., gain or lose weight and muscles, grow their hair and whatnot). Injuries heal at a rate relative to the seriousness of it - even amputations.

How does amputation work though? What if they lose their head? Does a new body grow or does the body grow a new head?

I'll have to iron this out but maybe it depends on the largest body piece? So the body would regrow the head, but if the body was completely blown apart, then whatever piece was biggest would become the 'main' one that the rest of the body would regenerate from?

What causes the immortality?

(I have an idea but wanna keep it a secret for now 😉)

So how does this world work then? It's futuristic - but how futuristic?

I'm thinking we've just achieved space travel. There's a colony on the moon and one being developed on Mars. We're spacefaring but it's not quite to the level of say, Star Wars or Star Trek. No aliens yet either! We've also got rudimentary robots running around, but they're machines more than fully autonomous. Basically, it's that time just before a massive technological leap in human history. We're on the verge of realising a lot of 'sci-fi' technologies.

Coming up with characters

Who are our main characters?

I was thinking of using Helen of Troy, since she's a mythological / historical figure that I've always found really interesting! So instead of her dying way back in the day, she actually became immortal during the Trojan War and has been enduring through the last 3500ish years as best she can.

The other main character I was planning on focussing the story around was Aethiolas - Helen's (disputed) son and former Prince of Sparta. I thought it'd be cool to explore an immortal mother and son dynamic, where almost 4000 years of sorrow and bitterness have tangled their relationship into something complex and...heartbreaking.

So what are they both like?

Helen has turned towards pacifism, whereas Aethiolas is and always will be a warrior. Helen is a leader - usually calm and collected and capable of commanding respect. Aethiolas, for the longest time, acted as her second in command and is quite a confident person. While Helen might long for the past, Aethiolas looks to the future with excitement and fascination.

Helen's group have become more observers, whereas Aethiolas takes an active role in shaping history - joining causes that speak to him and seeking to bring positive change into the world.

Aethiolas is viewed as reckless and dangerous to their way of life, killing humans who threaten him without hesitation; whereas he views his mother and the others as too rigid and afraid of change, and far too morally righteous and superior. A common argument between them would include lines like -- "Just because we can't die, mother, doesn't mean we should allow ourselves to be killed."

Helen views their immortality as a punishment. Aethiolas views it as a gift. But there is still love and loyalty between them. Despite everything, Helen is Aethiolas' mother, and he cares for her. And she for him.

Bringing concept and character together

How do these characters fit in with the world now?

Well, Helen is in charge of their group of immortals; whereas Aethiolas has become more of a 'lone wolf'. While he and his mother have had a falling out, and they fundamentally disagree on the use of violence and interacting with the world, Aethiolas still acts as the group's sword and shield. He doesn't live with them but he protects them from threats and they rely on him when issues crop up that do require swift action. There's some hypocrisy there, and it is one of the major points of conflict between them.

The story would likely kick off with several new immortals being born - and in a rather public and difficult to cover up manner. This has the risk of dragging all of the immortals into the spotlight, and prompts them to have to quickly decide whether living in the shadows is even possible any more.

--- -- --- -- ---

This became very long and rambling, but this is essentially how I create ideas from scratch. I'm super tired atm so it might not be super coherent! But if anything particular jumps out at you or you want me to focus in on something, please let me know!

[destieltaggedfic]

hey this is a kinda crazy ask but can you just recommend some fics that changed your life or felt like they altered your brain chemistry?

Oh this is interesting and its taken me a lot of thinking.

Balance And New Beginnings - Hekate1308   Ao3

Set S12.  When he finds out that Sam as well as Mary are working for BMoL, Dean says goodbye and walks away, going to hunt with Cas.  Together with Crowley they start to develop a new way of hunting, which is only targeting the supernatural creatures who are causing harm and protecting the benign ones from the BMoL genocidal plans.

Word Count: 54k                              No Sex

I've recced this fic before, and its on my favourites list, but this fic has so much that has stuck with me in a 'Yes I want more of that!'. Between Dean being so unhappy that he leaves and the storyline that they start working with good monsters (which given they have supernatural allies the show plot of BMoL trying to recruit them makes zero sense to me)

Chuck’s Vision - TheWritingPrisoner AO3

Set S15ish and S12. Chuck wakes up Sam and Dean from a vision of a possible future. A future where because they all didn’t stick together Jack was able to manipulate people and events from his birth in order to become god. Chuck also takes the time to point out a few characters flaws in the Winchesters and how they should fix them.

Word Count: 13k                                              No Sex

If you've delved into this blog enough you'll know that I love the idea of Evil Jack and I think this is the fic that really cemented it for me. The nougat son is often too twee for me, but those people who are brave enough to dip their toes into writing Jack living up to his evil potential are my heroes and I hope to join them one day.

The First Thing There Is – bendingsignpost   Ao3

Set S14.  The first thing he feels as he wakes up is love, so Dean is confused that Cas is described as his best friend.  Cas has helped to lock Michael more securely in Dean’s mind and that has taken all Dean’s memories temporarily.  As the days go by Dean is sure that he loves Cas too so why aren’t they together?

Word Count: 5k                                 No Sex

I don't think I've been able to get this fic out of my head since the first time I read it. Amnesia fic often have that beautiful trope of the amnesia wiping away all the bullshit and just leaving the feelings and this does it perfectly.

together, for eternity. – breathingneon   Ao3

Nonspecific timeframe.  Dean was never aware, but his soul was almost constantly seeking contact with Cas, and the angel never failed to grip back.

Word Count: 3k                                 No Sex

Honestly I think this is one of the most beautiful ways of depicting souls and the way they interact with the world around them. I'm not sure anything else has come close.

The Only Thing I Care About - mattzerella_sticks  Ao3

Set S14.  Everyone is happy that Dean and Cas got together.  In fact they’re a little too happy and invested, which is making Dean feel really uncomfortable when everyone in his life is watching his relationship closely and feel they have the right to comment on it.

Word Count: 9k                 Non-Graphic Sex

A switcheroo is sometimes the best thing in the world, but it can also break your brain in a permanent way. This fic where everyone is overly invested in destiel now they got together changed the way I view shipping fics forever.