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musicforastylesrestaurant · 4 months

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Tremulous.

adjective ‘shaking or quivering slightly’

in which, your a patient of doctor styles, and even though he’s supposed to be a professional, his attraction towards you blooms when he can’t seem to get you out of his head, but there’s a few problems that seem to be in his way.

word count - 2.6k

authors note- i know that this could have been longer considering the wait, but the other parts are going to be much better, contain more of a story, and definitely be longer, im sorry if this is not what you all expected <3

warnings: mentions of domestic abuse, hospitals, swearing, and a man named corey.

January 27th, 2024.

Once, you fervently clung to the notion of happily ever afters, your worldview painted with the romantic brushstrokes of fairy tales. However, that unwavering belief underwent a profound transformation. Life's intricate narrative unraveled before your eyes, revealing the nuanced shades of reality that escape the simplistic tales.

About a year ago, the realisation struck you like a revelation. The fairy-tale endings you once sought seemed elusive, replaced by the complex tapestry of life's unpredictable twists. You navigated through disappointments, heartaches, and the ever-shifting sands of relationships, learning that happiness wasn't a static destination but a dynamic journey.

When you met Corey, you beloved that just everything was going to be perfect, that you were going to get married, start a family and then finally would live a happily ever after.

But now, sitting in a hospital waiting room, a black eye and some bruised ribs, you soon realised that a happily ever after was not on your cards, and you didn’t think it ever would be.

Seated in the desolate hush of the hospital waiting room, Corey is by your side, his hand resting on your knee. However, the once-comforting touch has turned into an unintended source of discomfort. His nails, instead of offering solace, are slowly digging into your skin, creating a painful undertone beneath the already strained atmosphere.

The black eye you wear becomes a visible testament to the turbulent storm that has swept through your life, a storm now reflected in Corey's furrowed brow and tightening grip.

Each breath brings a searing pain to your ribs, a constant reminder of the physical toll exacted by whatever led you to this sterile purgatory. Corey's scowl intensifies, mirroring the tension in the room, as if the shared discomfort has found a physical expression.

The minutes drag on, marked by the rhythmic ticking of the waiting room clock, and you find yourself caught between the silent agony of your injuries and the unspoken worry etched on Corey's face.

You've always harbored a deep-seated desire to work in a hospital, a passion that initially fueled your excitement to embark on the journey of medical school. Back when you first met Corey, the prospect of donning a white coat and making a difference in people's lives seemed like a tangible dream. Fresh out of college, you were poised to step into the world of academia, eager to pursue your lifelong aspiration.

However, the trajectory of your dreams shifted when Corey entered the scene. In a whirlwind of emotions, he managed to sway your mind away from the academic pursuit you'd envisioned. With promises of missing you and a shared future that seemed brighter together, you decided to forego university and chose a different path.

Now, in the painful silence of the waiting room, regrets echo through your thoughts, as the realization settles that the sacrifice made for love might have cost you the chance to pursue your professional calling.

You can’t help but wish that you had gained enough courage back then to abandon him, because now…now your too scared to even breath around him, let alone run.

A nurse emerges from one of the doors, a clipboard in hand, and calls your name, "Y/N Y/L/N."

The mention of your name cuts through the sterile air, and both you and Corey rise from the uneasy embrace of the waiting room chairs. Your hands tremble as you follow the nurse, her brisk steps leading you into a room. The corridor seems to stretch indefinitely, anxiety intensifying with every step.

Once inside the room, the nurse gestures towards the bed,

"Please, have a seat." The paper on the bed crinkles beneath you as you comply, Corey standing nearby, his eyes mirroring the concern etched on your face.

As you settle onto the crisp hospital bed, the nurse efficiently checks your vitals, the rhythmic beep of the monitor punctuating the tension in the room. Her practised hands move with precision, measuring your pulse and blood pressure.

After the thorough examination, the nurse glances at the readings and nods.

"Your vitals seem stable," she states, her professional demeanor carrying a hint of compassion. "A doctor will be in to see you shortly. In the meantime, if you need anything or if the pain intensifies, don't hesitate to press the call button."

The weight of the impending doctor's visit hangs in the air, and you exchange a glance with Corey, your unspoken worries echoing in the silence of the room.

As the nurse departs, Corey's demeanor shifts abruptly. He harshly grabs your face, turning it towards him, his grip uncomfortably tight. His words cut through the air, "Remember what we said you'd tell them, right?"

A cold shiver runs down your spine as you nod in agreement, the tremor in your voice betraying the underlying fear.

Corey's gaze remains intense as he adds, "If you say the wrong thing, you will regret it."

The ominous warning lingers in the room, leaving you with a sense of dread.

Before you can respond, the curtain is abruptly pulled back, revealing a doctor with brown curly hair and piercing green eyes. Tattoos peeking out from the top of his scrubs and doctor coat hint at a more casual side.

His entrance interrupts the charged moment between you and Corey, injecting a fresh wave of tension into the air. The doctor offers a professional smile, though his gaze holds a discerning curiosity.

"Good afternoon. M’Dr. Styles," he introduces himself, glancing between you and Corey. "Let's talk about what brought you in today."

The weight of Corey's warning still echoes in your mind as you navigate the delicate balance between truth and the narrative you've been instructed to follow.

With a hesitant gulp, you summon the courage to speak.

"Uh, I had a bit of an accident," you begin, your voice quivering. "I... I fell down the stairs."

The admission hangs in the air, and you avoid Dr. Styles' eyes, your gaze fixed on the sterile surroundings.

Dr. Styles, his expression unreadable, continues to observe you closely.

"Fell down the stairs?" he repeats, a note of scepticism in his tone.

You nod, trying to appear convincing while the weight of fear presses down on you. The room feels stifling as you navigate the delicate dance of half-truths, your primary concern not to incur Corey's wrath.

"It was just a clumsy misstep," you add, your words laced with anxiety.

Dr. Styles, a man of clinical composure, glanced at Corey's bruised knuckles without a word, documenting the silent evidence on his clipboard.

He then turned his attention back to you, a hint of professional detachment in his green eyes.

"Well, let's get started. Where is the pain located?" Dr. Styles asked, his voice measured.

Your response quivered with nerves, "It's in…my ribs, doctor…Been hurting quite… a bit."

The doctor nodded, scribbling down your words. His gaze flickered over Corey's hands, perhaps noting the story they told without needing verbal confirmation. The air hung heavy with unspoken tension.

"Now, I need to check y’heart rate. S’that okay?" Dr. Styles inquired, his eyes fixing on yours.

A nod escaped your body.

Looking directly at you, Dr. Styles sought more than a nod. "I need verbal confirmation, not just gestures. Can y’confirm verbally that I can proceed?"

A tense smile played on your lips as you stammered, "Yes, go…go ahead."

There was no denying that Dr.Styles wasn’t a good looking man, his green eyes looked captivating, and for some reason, you felt safe in his presence.

The same couldn’t be said for Corey.

As the stethoscope pressed against your chest, a rush of anxiety surged through you. Your eyes met Corey's, silently expressing the fear of unravelling under the doctor's scrutiny.

Guided through deep breaths, your heart raced under Dr. Styles' scrutiny. The doctor noticed the anxiety etched on your face but remained professionally silent. His expertise unfolded like a story, revealing only what needed to be seen.

"Alright, here we go. Deep breath in, and out," Dr. Styles directed, his actions dictating the pace of this clandestine tale.

"Heart rate seems stable. Anything else you'd like to share about how this happened?" Dr. Styles inquired, maintaining an air of curiosity without prying too deeply.

You shook your head, your story consistent, "No, just a…clumsy fall down… the stairs."

"M’need to run a few more tests," he explained. "Would y’mind if your friend steps outside and waits in the waiting room? It won't take long."

Corey, however, reacted strongly to the suggestion. "What? No way! I'm staying right here. I'm her boyfriend, and I have every right to be in the room!"

Dr. Styles, calmly, responded, "I understand y’concern, but there are aspects of the examination that are private. S’common for patients to have some privacy during certain parts of the examination unless they suggest otherwise."

Corey, not willing to back down, kicked off, insulting Dr. Styles. "I'm not leaving. This is ridiculous. I have a right to be here."

Dr. Styles, unyielding, reiterated, "It's standard procedure f’certain parts of the examination to be conducted in private, unless the patient suggests otherwise."

You shared a hesitant look with Corey, feeling the tension escalate. Finally, with a deep breath, you mustered the courage to speak up, "Corey, maybe it's….better if you wait…outside for this part. It won't take long…and I'll be fine."

Corey's expression hardened, but he reluctantly left the room, shooting a final glare at Dr. Styles.

With Corey outside the room, Dr. Styles spoke gently, "I need t’examine your abdomen to check f’any signs of internal bleeding. For a thorough examination, I'll need you to remove your shirt."

You hesitated, anxiety clouding your eyes.

"I... I don't want to take my shirt off," you admitted, your voice trembling.

Dr. Styles, his tone reassuring, explained, "I understand, but it's crucial to assess any potential internal injuries. I'll do my best to make you as comfortable as possible, and we can proceed at your pace."

Taking a deep breath, you nodded hesitantly, beginning to remove your shirt, leaving you in just a sports bra. Dr. Styles' eyes widened as he saw the bruises that marred your torso, a silent testimony to the pain you had endured.

Concern etched on his face, Dr. Styles gently inquired, "Are you okay with me touching you for the examination?"

“Yes Doctor.” With a hesitant nod, you allowed him to proceed.

“Please,” he caught your gaze and tilted his head to the side. “Call me Harry.”

Dr. Styles' cool hands glided across your body as he carefully examined your abdomen. The room felt silent, the only sound being the measured breaths you took to steady yourself.

Dr. Styles, noticing your discomfort, apologized, "M’sorry if this causes any pain. Please let me know if anything feels too much."

As his hands explored, you flinched when he pressed too hard on a sensitive spot.

You winced.

Dr. Styles immediately pulled back, concern evident in his eyes. "M’sorry for any pain. We'll take it slow, and I'll be as gentle as possible."

You nodded, appreciating his care, and he continued the examination with increased caution. The vulnerability of the moment hung in the air, yet there was a sense of trust developing between you and Dr. Styles,

Before proceeding with the examination, Dr. Styles decided to ask a few questions. "Let's start with something basic. How old are you?"

You replied, "I'm 25."

Nodding, Dr. Styles moved on to the next question. "How often do you exercise?"

You thought for a moment before responding, "I walk to work every day, so I'd say I get some exercise regularly."

Dr. Styles continued his inquiries, "Are you currently taking any medication?"

"No, I'm not on any medication right now," you assured him.

The next question touched on a different aspect, "Are you pregnant or currently trying to conceive?"

With a quick response, you answered, "No, not pregnant and not trying."

Dr. Styles, satisfied with the information gathered, prepared to proceed with the examination. "Thank you for providing those details.

Dr. Styles, with a cautious tone, expressed, "I have one more question, and I don't want you to take this the wrong way.”

You look up at him through thick eye lashes.

“Does Corey abuse you?"

The question hung in the air, and you felt a shock ripple through you. Corey had made it abundantly clear that uttering a word about what you went through was strictly forbidden.

In that moment, you hesitated, your mind racing, but you couldn't bring yourself to voice the truth.

With a heavy heart, you shook your head and replied, "No, Corey would never do anything like that."

Dr. Styles, perceptive to the delicate nature of the situation, continued with a compassionate demeanor, "I understand that this might be a sensitive topic. It's crucial for me to ask because your well-being is my priority. If, at any point, you feel the need to talk or share, my role is to support you."

Feeling the weight of the unspoken truth, you nodded, your eyes reflecting the internal struggle. Dr. Styles respected the boundaries, recognizing the complexity of the situation.

He added, "I want you to know that your safety and comfort are paramount. If you ever need assistance or someone to talk to, there are resources available, and my team is here to help. It's essential that you feel supported in your journey to recovery."

The conversation concluded with an understanding silence, leaving an open door for you to seek help when you were ready

Dr. Styles cleared his throat, breaking the lingering eye contact between the two of you. He stood up, a professional shift in his demeanor.

"M’going to get you scheduled for an x-ray based on the nature of your injuries," he explained, offering a reassuring smile.

As he left the room, you couldn't help but notice a soft smile on his face when he looked back at you. The curtain was pulled gently behind him, leaving you alone with your thoughts and the echoes of the examination.

A realization began to dawn on him – the inherent injustice of your circumstances and the courage you displayed in the face of adversity. Amidst these reflections, another thought surfaced: just how remarkably pretty you were.

As he considered the emotional and physical toll you endured, Dr. Styles found himself admiring not only your strength but also your undeniable beauty. The compassion he felt transcended the professional realm, stirring a personal acknowledgment of the unfairness life had dealt you.

In a quiet moment at the doctor's station, he couldn't help but entertain a fleeting fantasy – what if circumstances were different? Dr. Styles wondered, with a twinge of regret, how different things might be if you weren't with someone like Corey.

In his opinion, you were gorgeous.

Your eyes would forever be stuck in his mind, even if he was to never see you again, the way your hair framed your face, and your dimples appeared when you were talking to him.

If he was to ever see you again, he would get to know you more, and he couldn’t help but wonder what you would look like with your body not covered in bruises, and wondered what your body would look like bent over his—

‘Stop it, Harry.’

His inner conscience told himself, you were his patient, and he was your doctor.

He had to be professional.

The unspoken connection between you lingered in his mind, and he found himself contemplating a different narrative, one where he might have asked you out, free from the shadows that seemed to engulf your current relationship.

As you sat on the hospital bed and picked at your fingernails, trying to remove the dried blood from under neath, when the curtain getting pulled open made you stop your actions and for your breath to hitch on your throat.

Corey stormed back into the room, anger radiating from him like a palpable force, his eyes fixed on you with a cold, threatening glare. The tension in the room intensified as he made a menacing declaration,

"You're in for it when we get home."

Your heart sank at the ominous words, and fear flickered in your eyes as you braced for what awaited you.

Oh, how you wished you had told Dr. Styles the truth, but just like always, you were starting to regret it.

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dailyadventureprompts · 4 months

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Dm Tip: Playing the Villain/ Guidelines for "Evil" Campaigns

I've never liked the idea of running an evil game, despite how often I've had people in my inbox asking how I'd go about it. I'm all about that zero-to-hero heroic fantasy not only because I'm a goodie twoshoes IRL but because the narrative-gameplay premise that d&d is built around falls apart if the party is a bunch of killhappy murder hobos. Not only would I get bored narrating such a game and indulging the sort of players who demands the freedom to kill and torture at will (I've had those before and they don't get invited back to my table), but the whole conceit of a party falls through when the obviously villainous player characters face their first real decision point and attempt to kill eachother because cooperation is a thing that goodguys do.

Then I realized I was going about it all wrong.

The problem was I had started out playing d&d with assholes, those "murder and torture" clowns who wanted to play grand-theft-auto in the worlds I'd created and ignore the story in favour of seeing how much unchallenged chaos they could create. They set my expectations for what an evil campaign was, and I spent the rest of my time developing as a dungeonmaster thinking " I Don't want any part of that"

But what would an evil campaign look like for my playgroup of emotionally healthy friends who understand character nuance? What would I need to change about the fundamental conceit of d&d adventures to refocus the game on the badguys while still following a similar enough narrative-gameplay premise to a hero game? How do we make that sort of game relatable? What sort of power/play fantasy can we indulge in without going off the deepend?

TLDR: In an evil campaign your players aren't playing the villains, they're the MINIONS, they're mooks, henchmen, goons, lackeys. They're the disposable underlings of uncaring overseers who have nothing but ill intent towards them and the world at large.

Where as in a hero game the party is given the freedom to challenge and overthrow corrupt systems, in an evil game the party is suck as part of that corrupt system, forced to bend and compromise and sacrifice in order to survive. The fantasy is one of escaping that corrupt system, of biding your time just long enough to find an opening, find the right leverage, then tossing a molitov behind you on the way out.

Fundamentally it's the fantasy of escaping a shitty job by bringing the whole company down and punching your asshole boss in the face for good measure.

Below the cut I'm going to get into more nuance about how to build these kinds of narratives, also feel free to check out my evil party tag for campaigns and adventures that fit with the theme.

Designing a campaign made to be played from the perspective of the badguys requires you to take a different angle on quest and narrative design. It’s not so simple as swapping out the traditionally good team for the traditionally bad team and vis versa, having your party cut through a dungeon filled with against angel worshiping holyfolk in place of demon worshipping cultists etc.

Instead, the primary villain of the first arc of the campaign should be your party’s boss. Not their direct overseer mind you, more CEO compared to the middle managers your party will be dealing with for the first leg of their journey. We should know a bit about that boss villain’s goals and a few hints at their motivation, enough for the party to understand that their actions are directly contributing to that inevitable doom.

“Gee, everyone knows lord Heldred swore revenge after being banished from the king’s council for dabbling in dark magic. I don’t know WHY he has us searching for these buried ancient tablets, but I bet it’s not good”

Next, you need a manager, someone who’s a part of the evil organization that the party directly interfaces with. The manager should have something over the party, whether it be threats of force, blackmail, economic dependency… anything that keeps the antiheroes on the manager’s leash. Whether you make your manager an obvious asshole or manipulative charmer, its important to maintain this power imbalance: The party arn’t going to be rewarded when the boss-villain’s plan goes off, the manager is, but the manager’s usefulness to the boss-villain is contingent on the work they’re getting the party to do. This tension puts us on a collison course to our first big narrative beat: do the party get tired of the manager’s abuse and run away? Do they kill the manager and get the attention of the upper ranks of the villainous organization? Do they work really hard at their jobs despite the obvious warning signs and outlive their usefulness? Do they upstage their manager and end up getting promoted, becoming rivals for the boss-villain’s favor?

Building this tension up and then seeing how it breaks makes for a great first arc, as it lets your party determine among themselves when enough is enough, and set their goals for what bettering the situation looks like.

As for designing those adventures, you’ll doubtlessly realize that since the party arn’t playing heroes you’ll need to change how the setup, conflict, and payoff work. They’re still protagonists, we want them to succeed after all, but we want to hammer home that they’re doing bad things without expecting them to jump directly to warcrimes.

Up to no good: The basic building block of any evil campaign, our party need to do something skullduggerous without alerting the authorities. This of course is going to be easier said than done, especially when the task spins out of control or proves far more daunting than first expected. The best the party can hope for is to make a distraction and then escape in the chaos, but it will very likely end with them being pursued in some manner (bounties, hunters, vengeful npcs and the like). Use this setup early in a campaign so you have an external force gunning for your party during the remainder of their adventures.

Dog eat dog: It’s sort of cheating to excuse your party’s villainous actions by having them go up against another villain who happens to be worse than they are. The trick is that we’re not going after this secondary group of outlaws because they’re bad, we’re doing it because they’ve either got something the boss wants, or they’re edging in on the boss’s turf. This sort of plotline sees the party disrupting or taking advantage of a rival’s operation, then taking over that operation and risking becoming just as villainous as that rival happened to be. This can also be combined with an “Up to no good” plot where both groups of miscreants need to step carefully without alerting an outside threat.

The lesser evil: This kind of plot sees your party sent out to deal with an antagonistic force that’s a threat not only to the boss’s plans but to everyone in general. In doing so they might end up fighting alongside some heroes, or accidentally doing good in the long run. This not only gives your party a taste of heroism, but gives them something in their back pocket that could be used to challenge the boss-villain in the future.

The double cross: In order to get what they want, the party need to “play along” with a traditional heroic narrative long enough to get their goal and then ditch. You have them play along specifically so they can get a taste of what life would be like if they weren't bastards, as well as to make friends with the NPCs inevitably going to betray. This is to make it hurt when you have the manager yank the leash and force the party to decide between finishing the job , or risk striking out on their own and playing hero in the short term while having just made a long term enemy. This is sort of plot is best used an adventure or two into the campaign, as the party will have already committed some villainous deeds that one good act can’t blot out.

Next, lets talk about the sort of scenarios you should be looking to avoid when writing an evil campaign:

Around the time I started playing d&d there was this trend of obtusely binary morality systems in videogames which claimed to offer choice but really only existed to let the player chose between the power fantasy of being traditionally virtuous or the power fantasy of being an edgy rebel. Early examples included:

Do you want to steal food from disaster victims? in Infamous

Do you as a space cop assault a reporter who’s being kind of annoying to you? in Mass Effect

Do you blow up an entire town of innocent people for the lols? in Fallout (no seriously check out hbomberguy’s teardowm on fallout 3’s morality system and how critics at the time ate it up)

I think these games, along with the generational backwash of 90s “edge” and 00s “grit” coloured a lot of people's expectations ( including mine) about what a "villain as protagonist" sort of narrative might look like. They're childish exaggerations, devoid of substance, made even worse by how blithely their narratives treat them.

Burn down an inn full of people is not a good quest objective for an evil party, because it forces the characters to reach cartoonish levels of villainy which dissociates them from their players. Force all the villagers into the inn so we can lock them inside and do our job uninterrupted lets the party be bad, but in a way that the players can see the reason behind it and stay synced up with their characters. The latter option also provides a great setup for when the party's actually monstrous overseer sets the inn on fire to get rid of any witnesses after the job is done. Now the party (and their players) are faced with a moral quandary, will they let themselves be accessories to a massacre or risk incurring their manager's wrath? Rather than jumping face first into cackling cruelty, these sorts of quandaries have them dance along the knife's edge between grim practicality and dangerous uncertainly; It brings the player and character closer together.

Finally, lets talk about ending the villain arc:

I don't think you can play a whole evil campaign. Both because the escalation required is narratively unsustainable, but also because the most interesting aspect of playing badguys is the breaking point. Just like heroes inevitably having doubts about whether or not they're doing the right thing, there's only so long that a group of antiheroes can go along KNOWING they're doing the wrong thing before they put their feet down and say "I'm out". I think you plan a evil campaign up until a specific "there's no coming back from this" storybeat, IE letting the Inn burn... whether or not the party allows it to happen, it's the lowest point the narrative will allow them to reach before they either fight back or allow themselves to be subsumed. If they rebel, you play out the rest of the arc dismantling the machine they helped to build, taking joy in its righteous destruction. If they keep going along, show them what they get for being cogs: inevitably betrayed, sacrificed, or used as canon fodder when the real heroes step in to do their jobs for them.

Art

#dm tip #dm tips #writing advice #evil party #drafting the adventure #dnd #d&d #dungeons and dragons #blades in the dark #ttprg #pathfinder

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phantomyre · 2 months

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Rebirth-Vincent Analysis/Breakdown 1 Vincent's connection to Sephiroth and why his penance is now justified (SPOILERS)

Bear in mind this is mostly an analysis and some of it may be obvious to some. But the purpose of this is to shed light on some of the more nuanced aspects pertaining to Vincent's character and what we might expect from him moving into part 3. I will be breaking these into parts so as to not create such lengthy posts. NOTE: It has been over 2 weeks so I will no longer be censoring content, but I will maintain the spoiler tags. --------------

For starters, Vincent’s personality has been well implemented in that some of his more nuanced traits are highlighted in Rebirth. Compared to OG’s depiction of him, he is more hostile and skeptical than before. In OG, he divulges everything from Sephiroth’s past to his own involvement with Shinra. Not so in Rebirth, however. As a matter of fact, he avoids talking about Sephiroth altogether (up until a certain side-quest), and only calls himself ‘security’ instead of telling the group he once worked for Shinra. Regarding the source of his guilt, it heavily revolves around Sephiroth without so much as a mention of Hojo. As a result, instead of Hojo being his target, Vincent’s driving motivation for joining Cloud’s company is Sephiroth, siting he has unfinished business with Sephiroth. Previously in OG, Vincent’s regret stemmed from his inability to prevent Lucrecia and Hojo from experimenting on their child, Sephiroth. Little else was given, and fans have long held the notion that Vincent had needlessly punished himself for something that was completely not his fault, criticizing his self-hatred as pure edginess and being overdramatic. However, Rebirth has shown there is yet another layer of tragedy regarding the reason for Vincent’s self-imposed punishment. And this leads to the topic of Vincent’s relationship to Sephiroth.

When the party first meet Vincent, though he initially plays the part of a security guard and interrogates them for a breach of ID security, his aggression quickly deflates when he learns that the party is after Sephiroth. It isn’t until Cloud steps into the chamber that used to contain Sephiroth’s samples that Vincent becomes extremely hostile towards the party, oddly protective of the room and whatever info on Sephiroth it may have had. Once Vincent is finally convinced to join the party for the sole purpose of meeting Sephiroth, Vincent states he has some ‘unfinished business’ with Sephiroth. The weight of this motivation becomes very heavy when Vincent finally tells the group the nature of Vincent and Sephiroth’s ‘unique bond’.

According to Vincent, he feels partially to blame for Sephiroth’s cruelty. While that isn’t completely new, Vincent goes on to say that he ‘had many opportunities to purge him from this world’, also sighting the countless people suffering as experiments in the basement. In OG, Vincent was unaware of the evils Sephiroth had committed until Cloud told him. Vincent even says ‘all this while I was sleeping’ when he joins Cloud in seeing the vision of Nibelheim burning—proving Vincent was naïve of the events. In later compilations, it’s implied that Vincent is indeed able to sense turmoil around him since he so happens to turn up whenever someone is about to die. This led fans to question how Vincent was so oblivious to one of the most devastating events in FF7’s story. In Rebirth, however, we learn Vincent was far from oblivious. This implies that Vincent was aware of Sephiroth massacring Nibelheim, the survivors becoming human-experiments, and likely Zack and Cloud’s experimentation as well. Vincent not only neglected to save Lucrecia and Sephiroth during the experimentations, but he also turned a blind eye to the plight of others, allowing Sephiroth to continue his rampage. And not just once or twice. But many times. This is a significant change to Vincent’s story and will likely play a large part in part 3 in his journey to redemption. The red cloak he wears now makes more symbolic sense as he carries the blood of innocents on his shoulders. Now… Vincent’s penance is justified.

#vincent valentine #final fantasy 7 #ff7 #final fantasy #ffvii #ff7 rebirth #ff7 rebirth spoilers #ffvii rebirth

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mermaidlighthouse · 6 months

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Why I think Izzy’s death was actually necessary despite me being sad about losing my favorite* character…

So I am once again looking to reframe a moment/scene involving Izzy around Ed because as much as Izzy was his own character (with a wonderful redemption arc) his function in the narrative imo is as an extension of the Blackbeard persona and therefore Ed and his perception of himself

Ok so this is gonna be long but I think it’s necessary to frame this properly

Izzy and Ed’s relationship is one of misery loving company and instead of finding ways to legitimately pull each other up and heal from whatever brought you to that place it turns to one of toxicity where you either repress the trauma (Ed never telling anyone that he killed his father, that he feels like a monster) or express it in ways that only perpetuate the misery. At this point that constant cycle of misery is so familiar it can be difficult for the participants to recognize what they’re doing to themselves and each other and it’s difficult to not fall back into those patterns.

So while Izzy is making strides and having his arc, instead of saying to Ed maybe don’t go looking for darkness when you’re standing in the light, don’t look for trouble or problems that don’t exist just because that’s what you’ve come to expect he says maybe you’re just a mopey twat and there isn’t a fuckin storm, when Ed does apologize for his leg Izzy’s only response is fuck off.

They can’t communicate with each other effectively and it’s already caused issues. When Izzy tells Ed to listen to the feeling of throwing away the trappings of Blackbeard, Ed does but he has also been told by Izzy that Ed isn’t good enough so why would Stede want him now that he’s not gonna be Blackbeard. I think Izzy meant well and had the right sentiment but the fact is that the damage of what they do to each other has already been done. Izzy doesn’t just represent the devil on Ed’s shoulder, he’s the voice in his head telling him he’s worthless without Blackbeard.

So could the narrative have just said Izzy went off on his own or went with the crew in the end? imho no they couldn’t because in order to have a healthy relationship with Stede, and just to be a generally well adjusted person Ed needs to love himself and the constant knowledge that his self loathing can just pop up out of nowhere (something explicitly shown as an Izzy staple) won’t allow him that freedom. (I recognize this isn’t how self development/self esteem works irl but this is a dark comedy rom com just let some things be hand wavy.)

Sometimes the best way to help each other grow and be whole is to recognize that you need to let the other person go. That’s true for BOTH of them.

Izzy dying was the only way they could finally communicate honestly without the jibes and the looming Blackbeard of it all they could just talk to each other as family as people who love each other (this is not my ship and I have a serious issue with the lack of nuanced takes on love in this fandom but that’s a separate issue).

To give Izzy some grace here I would like to point out that his story can also be seen as one that tells the audience that toxic people in your life or people you have complicated relationships with are allowed to grow on their own and make positive changes for themselves BUT that does not mean you have to accept them back in your life, you are not required to give them space after they’ve wronged you. You can celebrate their growth but you don’t owe them anything. Ed can recognize that Izzy has changed but he was never going to fully excise Izzy from his life he’s too familiar and too much a darkness to hide in and it would have created more toxic situations. So yes Izzy had to die.

*I always mean favorite side character because my favorite character is EdStede/StedeEd. If you don’t love them, together and separately then you don’t love the show because this is their story

#yes I still cry whenever I watch this scene #I’m also masochistic enough that I added Du Gamla to my playlist #and I cry about that too #this may end up just being for me but I needed to get it out of my head #izzy hands #the new unicorn #edward teach #ed teach #blackbeard #stede bonnet #the gentleman pirate #blackbonnet #gentlebeard #ed x stede #our flag means death #ofmd season 2 #ofmd s2 #ofmd

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infamous-if · 1 year

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Hey Amy! Thanks so much for this story, you've created a world so immersive and colorful, and I am on the edge of my seat for what comes next!

I just wanted to ask if we will we learn what happened in the days between the vote and fight night?

Did MC and Seven not talk and clear things up with each other after the votation? I don't understand why Seven would have an outburst like that if they and MC managed to discuss the issue of Seven being taken off lead vocals. I thought the two were bestfriends and/or partners? How do two people so "attached" to each other not talk about such a huge decision? Did Seven or MC just go poof after the vote, only to return the night of the party?

I understand that it may be spoiler-y for you to answer, but I just wanted to clear things up and develop a timeline. I think knowing what happened between the vote and the party will help me (and perhaps other players) understand if Seven's actions were warranted.

Thanks again for taking the time to read this ask and for infamous!

I mentioned this in passing but Seven sort of kept their feelings down for the sake of the band until they couldn’t take it anymore. So outwardly Seven was trying their best to be okay with it even if they weren’t. They didn’t go “poof” they were still around and tried to do the background vocals thing and realized they’re useless in the band, which sort of made how they felt about it even worse. Seven did try. They hated it, but they tried. And no matter how attached two people are, there will always be some things harder to talk about than others.

I mean…Seven can sort of say the same too? “How can someone who claims to be attached to me be okay with this when they know all I wanted was to be a lead singer?”

Seven didn’t want to ruin anything but they also couldn’t keep their feelings down for too long. Of course they talked about it but it was more that they didn’t go deeper than what it was.

Basically, if they talked about how sev felt about it, it would’ve been:

Mc: “are u okay with this?”

7: “yeah whatever”

So two problems here: 1) MC didn’t inquire further and 2) 7 didn’t share how they really felt. 7 was obviously bothered but if they said they’re alright… there’s not much MC can do if 7 insists they’re fine even when it’s obvious they’re not

Then having an outburst in that way was more from the alcohol lmao instead of sharing their feelings calmly, it was more of a dam that broke.

Like I said, it’s a lot of nuances and just,,,,very messy haha

Also thank you so much!! Glad you like it!!!

#inbox #seven lawless #the fight #since I know there will be a lot of MC defenders I will be the resident lawyer for our favorite numerical RO #don’t worry seven I got u #🫡#)I’m kidding btw I know seven is probably wrong in many ways haha #but still 🫡

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animehouse-moe · 1 year

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Chainsaw Man Chapter 127: Save The Asa

This if Fujimoto in his element, mixing parts and characters and approaches to create something that only he could. Lifting characters up with fancy words and emotional sentiments, only to have it come crashing down in the most hilarious and apt ways possible. Hardly a big chapter, but within the context of what's around it, certainly one that will be remembered.

⚠️Warning: Spoilers Ahead⚠️

A lot of the chapter focuses on Asa's attachment to life, as you'd expect. She circles the drain, remember her fears, her worst moments. She remembers just how much her life has sucked, how she's only kept alive to be used as a tool by a devil. It's all very outstanding, and is like an accelerated version of Denji's story because Asa is more aware of herself. It doesn't take the terrible moments for reality to break her, because she was never anywhere near the same rock bottom as Denji.

And that's what I love the most about it, Fujimoto's aware. Fujimoto's aware how terrible Denji's life has been, how brutal an existence he's been given, and rather than leveraging that against Asa, he uses it to subvert expectations and assert just what kind of person Denji is. An insane hybrid devil that is driven only by dreams. The kind of guy that can save Asa.

It's equally as ridiculous, because on the surface you hardly get what's really going on (cue the "Fujimoto fan making something out of nothing"). It's just crazy how Fujimoto is throwing out the dumbest stuff possible, but ends up cobbling together a far more realistic and approachable sentiment to suicidal thoughts. Who cares about the "big things" in life? Why would that matter to someone ready to end it all? It's the smaller pieces of life that they'll miss. Reading their favorite manga weekly, or not being able to pet another cat or dog.

And it just keeps going. It doesn't say "oh there's good stuff to life", or "I moved past it", because the last thing someone wants to hear is "it gets better". Because no shit, thinking it'll get better doesn't make it get better.

Instead, Denji steals the show with his idiocy, and proudly proclaims his dream. No longer is it something as childish, or lowbrow as "touching boobs". Nay, it's something more noble, something more lofty. Something that a young man would truly dream of.

And what gets me here is Asa's disgust, as if she didn't allude to the same thought earlier. Also, cute little symbolism of the pair of birds together. Simple piece about freedom and Asa finding someone, as the two birds join up with one another.

Anyways, it's hard to really give this chapter its flowers when you read weekly. But when you put it into the context of the world ending, of Asa slipping deeper and deeper into depression, of her being driven to suicide, of absolutely nothing going her way, I'd honestly say it's the pinnacle of the arc. Purely because it comes in to mock it. It basically laughs in the face of a nuanced conversation on depression and suicide and says, "yeah it's sucks ass, but don't you want to have sex or pet dogs & cats or have ice cream whenever you feel like it?". It's a beautiful aspect of Fujimoto, and I'd honestly liken it to the finale of Fire Punch (though as a lesser form). His grasp of how people tick is incredible, and being able to stretch that understanding to fit the insanity that he loves chasing is amazing.

#chainsaw man #csm pt 2 #chainsaw man manga #csm manga #chainsaw man part two #chainsaw man part 2 spoilers #csm part 2 #csm spoilers #csm denji #asa mitaka #falling devil #manga recommendation #manga review

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thekingofwinterblog · 9 months

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The Problem with Trespasser

So there has been said a lot about the flaws of tresspasser as a finale to Inquisition, as it can basically be divided into two sections.

There is the lore, the character stuff with your companions, and the actual titular trespasser section of the story, which is generally liked.

Then there is the Exalted Council part of the Story which is generally greatly disliked for the way it portrays Arl Teagen as an ungrateful arse, who even though he's in the right that the Inquisition really does need to disband, is such a bitch about it that a player might feel the desire to keeping it intact just to spite him, despite all the reasons that is a terrible idea(Such an organization being doomed to become the templars 2.0 being the single biggest). Not to mention the way it makes Thedas's nations look like they have the memory capacity of a goldfish, given how instrumental the inquisition was in stopping the last massive threat and might be so again against the plenty of obvious threats on the horizon(and sure enough, the stop the Dragon breath terrorist attacks that would have happened with or without them being there).

However, looking at the big picture, i don't think the actual writing of Arl teagen was the problem here.

No the problem is that Arl Teagen and the rest of the world's reaction to the Inquistion is very, very clearly taken from an older draft of this story, where the Inquisitor was far less... An unambiguous force for good, lets say.

The concept art for inquistion tells a story that is very, very different than what we get in game, with a lot more emphasis is put on the inquisitor very obviously being a dick, that is not well liked by anyone around them.

There is also the way said inquisitor could be far, far more pragmatic and morally grey or dark, like here, where the Inquisitor could force the Venatori to serve after defeating them.

Way more emphasis is built on the idea that the Inquisitor is creating a cult of personality around you, personally.

Essentially a dark mirror to the Hero of Ferelden and Galahad's journeys to defeat their own crisis'.

The option of letting celine die was always gonna be a part of the game, but rather than a pragmatic, move of standing aside and let it happen, your companions would have very negative reactions to this choice, with you having to force Blackwall in particular to stand back as he curses you.

And of course, it would all cuminate in the logical endpoint for the herald of andraste, the living embodiment of the Andrastian reformation as you took your place on the sunburst throne, and usher in whatever changes you want.

This outcome... makes perfect sense. Frankly speaking, this is a much more narratively fitting ending for the inquistior, that has a clear climax from where they start.

Of course we all know this didn't actually end up happening. The Inquisitor ended up being the most passive of all the PC's by a wide margin(you could shape them into having a personality, but not one with a true backbone like Hawke and the Warden), and all these very morally dubious options was taken out of the game in favor of a much more morally simple story.

The most evil thing you can do in DAI is to choose the templars over the mages... and rather than being portrayed as the clear evil choice as it should have been(and still been a legitimate and pragmatic option for you to take) there is instead attempts at making it more nuanced.

Other than that, you don't have the kind of options that the Warden had, and even hawke did(like selling Fenris into slavery), to be a dick.

With all this in mind, it's blatently obvious why Teagen and the world is so damn afraid of the Inquisition.

Because this part of the story was written from before this change in the direction of the game, and was never updated to fit the final product.

If the original vision of the game had to to pass, Teagen's extreme reactions to the Inquistion would have been far, far more understandable, and in it's own way a way of calling the player out on their bullshit.

However, the final product just makes it appear he's way overreacting, rather than maybe questioning that maybe Teagen is right, maybe it is time to end this inquisition for the good of all.

Its one of the biggest problem with what is otherwise a very good epilogue to Dragon Age Inquisition.

#dragon age inquisition #meta #concept art #original story direction #inquisitor #what could have been #arl teagen #teagen #ban teagen #trespasser

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tiffany-loves-broadway · 17 days

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Someone on Reddit asked me what my major problems with Ward were. I figured I might as well port the comment over here; it's been a while since I've written a substantial Ward Bad post. Recommendation: don't read Ward.

---

It would probably be quicker to list things I didn't have problems with. I spent most of the story giving it the benefit of the doubt because I liked Worm enough that I assumed it was leading up to something good that would justify the buildup. As the story continued that became less and less likely, and as it wound down to a close I realized after nearly two million words that it wasn't going to happen. I would probably have wound up sour about it even if the final arc had been individually decent instead of the worst thing I've ever read from Wildbow.

The characters are good. Not better than Worm's like many say, but good. Wildbow's still pretty good at creating character backstories, whether they're major or minor.

The plot is bad. This includes the character arcs, which are bad. I think about this when people say that it's a better character piece than Worm.

The setting is bad. Worm's world feels like a living place; Wildbow spent many years conceiving of it. Ward's world feels improvised by someone who really doesn't want to be doing a Worm sequel.

The themes are bad. Worm handles its themes with great artistry and nuance; Ward handles them dumbly with a sledgehammer. Its message is bad; Worm had an unreliable narrator who was frequently corrupt and made dubious ethical decisions, while Ward has a hyperreliable narrator who Wildbow is terrified to allow to be wrong, which is especially a problem because she is often meaningfully in the wrong.

The callbacks to Worm are bad. Unfortunately, one of them is the protagonist (bad). The return of the Undersiders to central character status is particularly terrible. It's commonly said that Ward isn't a sequel to Worm, because it's a new story with new characters. In that sense, I didn't want a sequel to Worm, I wanted exactly the thing people say Ward is, a new story with new characters. I just wish that the ties it did have to Worm felt less like contrived trade-ins on fan nostalgia. I really could have done with less of them period.

The writing process was bad, and Wildbow has acknowledged this. The story constantly insecurely shifted to the whims of the crowd, contorting itself in a clumsy attempt to respond to misguided feedback or settle dumb fandom arguments. If you could go back in time and convince Wildbow to sever contact with his entire fandom while writing Ward, it would almost certainly have turned out better one way or another.

The individual plot arcs' endings were bad. Wildbow basically never really knew how to transition from one arc to the next; he frequently cut an arc short because the loudest fans were getting bored of it, and it fucking showed.

The final arc of the story was terrible. Artistically terrible and even ethically terrible. A culmination of every single other problem listed here. It is hard to convey how terrible it is without spoiling it. It felt like something you'd see in a documentary about a Heaven's Gate style cult as one of their pieces of rambling religious material distributed to members. And Wildbow apparently had no fucking idea what he was doing; asleep at the wheel on the freeway, suddenly swerving at the last moment away from death and into standard Ward-style triteness. It isn't surprising that he considers the end of Ward the low point of his career, or that it made him consider quitting writing. It showed.

All around, it was bad.

#parahumans #wormblr

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zsakuva · 2 months

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Hello! My name is Grim, and I fancy myself a bit of a researcher. Now, this is not for anything important or extremely serious. Instead, this is mostly for my own pure enjoyment and something I have in the works that is to be posted on Tumblr. You are not obligated to answer any or all of these questions I have posed. I know it’s a bit much. Take your time, but don’t feel obligated to do anything. Feel free to add any additional input! Thanks for your consideration!

1. How different do you think your work would be, in terms of getting across a point, in a different medium thats not Audio RP?

2. How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

3. How important do you find the voice acting in your work?

4. You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

5. Do you believe your own individual ability to voice characters enhances the story overall?

6. Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

7. As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

8. Is Audio RP your favored form of art?

9. How do you believe Audio RP differs from main stream forms of art/entertainment?

10. Do you believe that your work has over arching themes that relate to you personally? (very optional)

Hello, and thank you for the questions!

How different do you think your work would be, in terms of getting across a point, in a different medium that's not Audio RP?

If I were to create similar storylines in another medium, I think my work would be very different. The major element that all my stories are based around is the Listener. Everything is crafted from their perspective, so I need to always keep this in mind when scripting and editing. The best ways to handle the narrative and dialogue are through implications with other characters and SFX; to keep audios sounding as authentic as possible, this must always be considered when I work. Much of it is filled with the Listener's imagination, but to convey a point with only audio cues can be a difficult task.

2. How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

I'd allow the story to breathe and marinate due to the platform it's on and the medium the story is told in.

The genre of audio RP, especially on YouTube is already limited because creators are told that in order to keep an audience, we must hook them within the first 10-30 seconds. Due to this, we develop our audios with that in mind; it can come as a detriment to our creativity and desire to show a story in a particular way. We're confined by parameters that value immediate views and responses in order for our creations to be deemed successful, and when many use YouTube as their primary source of income, this manner of thinking can become the norm. In order to stay relevant, we must research what's trendy, what tropes are no longer popular, and though it's not necessary, online demand can change on a dime. Exploring different topics and themes are also limited due to this; creators must work within the platform's restrictions, and that has impeded many stories with how deep I can dive and what it could've become.

As a visual medium—particularly movies and TV shows—my stories would be far better. Viewers can perceive them the way I want them to and with far more understanding. Although SFX and a wonderful soundscape can teleport consumers to another place, the nuances that I love and appreciate slip through the cracks. On a larger scale, visualising the settings, fashions, and people can elevate a story as it gives a plainer context everyone can draw from. On a smaller scale, facial expressions and body language are paramount for communication, something that audio RP cannot do.

An example of this would be my newest series, The Noble Trials. It's a high fantasy world which, in itself, is difficult to show because in that kind of setting, anything goes. I want the audience to experience the extravagant events, the opulent locations, the embellished fashion. Of course, as I depend heavily on sound design, I have faith in the listeners to imagine that for themselves, but they'll never imagine it the way I do. The only option is to write it through dialogue, and sometimes, this can feel unnatural. I'm one to sprinkle in details, so if I decide to create a new fantasy creature, I must show it through SFX and characters describing it. That's not to say it can't be done, but that requires more time and effort; it depends on if a creator is willing to go the extra mile for a little more immersion.

3. How important do you find the voice acting in your work?

I find it extremely important! If I want my audience to be transported, then all elements of the story must be convincing, and the character I voice is no exception. Voice acting is the primary driver of it all; though dialogue can certainly tell the audience something, the way it's expressed is vital to adding a layer of realism. As I can't rely on faces and movement to show a particular feeling, it must be emoted through speech, and that can elevate a story to the next level.

4. You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

I've thought about it but I don't believe it to be a possibility. Most of my community listen to my works because I'm voicing the characters, so it's something I must continue doing. However, writing is my strength and passion. It gives me true joy, so if I was guaranteed my career would be retained and someone else voiced the main character, I would consider it. At this point however, it's not an option.

5. Do you believe your own individual ability to voice characters enhances the story overall?

Though I'd say I'm okay at what I do in terms of voice acting, I know there are others that are far better than I am, and I believe they could take my stories much further. My projects are made with audio dramas in mind, so I think that someone more skilled in voice acting could easily transform a character of mine.

Also, my vocal range is pretty good, but voicing all characters (I've created 18 so far with many more to come) is very difficult. Although the audience know it's one man behind all these characters, as a creator I'm compelled to separate everyone so they don't sound similar. Of course, it's impossible to take note of every modulation the voice makes and consistently use certain intonations where necessary, but there will always be similarities between the characters which, to me, hurts the story if the voice is comparable to another and the audience notice. It makes me want to develop my acting more, but it's quite saddening despite what I must do to make characters sound different (pitch, accent, tone, etc). In this case, I am my own limitation.

6. Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

The short answer is no, I do not enjoy the idea of a Listener character. As a writer, it limits what a story can convey.

In the beginning, it was a great challenge because I could experiment with how to tell stories through the perspective of someone who doesn't talk. It allowed me to develop different means of showing a narrative through SFX and one-sided dialogue, and to understand the limitations and liberties I could make. However, there's a massive downside: everyone is different. Some creators like the Listener being a blank slate for the audience to fill, and that's absolutely fine; I started out like this too!

But as I sank deeper into adding dimension and story to my characters, I realised that I needed to do the same for the Listeners. They need personality, and desires, and struggles that will inevitably clash with other characters. A blank slate cannot drive a story, nor can they transform it in any way because there's nothing to challenge or change. For my stories, the Listener's personality and interests must have something of substance in order to interact with characters.

However, this also proves to be inconvenient because the audience may not be able to relate. Some listeners like to insert themselves into an audio while others enjoy it from a third-person perspective. Those who listen in the former way can have difficulties with what the Listeners do because it's a stark contrast to who they are, and that can break immersion. Additionally, they can develop characteristics about the Listener depending on their own beliefs of them—by their own reflection or other means.

The most recent example would be Alex's series. Tl;dr of the story: Alex and Gremlin (the Listener's petname) have been together for four years. One day, Gremlin accused Alex of cheating, they were wrong, tensions arose, both were stupid, they broke up, and Gremlin left to who knows where. The latest episode is a dream sequence that explores Gremlin's thoughts about what happened, what they think of themselves, and it reveals other questionable things they've done. As a character, Gremlin suffers from trauma, and this drives them to act in unfavourable ways similarly to Alex. The purpose of this audio was to show that Gremlin is not as good as they seem. Everyone is flawed, and I make sure my characters are no different. But many listeners likely can't imagine themselves screaming accusations at their long-time partner, stalking them, and living with crippling trust issues and anxiety; therefore, in their mind, that doesn't happen in the audio.

If the Listener character was voiced, I think their views would be different, but this is the main factor: No matter how detailed I am, the audience will never see the Listener the way I do. And as I want to write narratives in a specific way to convey a specific idea, that can get lost in translation. That means a Listener character must be predetermined in order to write a compelling story and explore themes and situations I can't do with a blank slate.

7. As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

Having been doing this for a few years, I think I have a comfortable grasp on how to write Listener characters. The main challenge is natural dialogue between them and other characters, as well as staying true to the personality I've given them. Different Listener characters would notice or mention certain things depending on who they are, and I must always keep that in mind. But for the most part, it's pretty enjoyable!

8. Is Audio RP your favored form of art?

Absolutely not. My favoured form of art has always been audio-visual in nature because that's what I respond best to. Films and TV shows are where my heart truly lies, but expressing myself through this medium is a privilege I cannot take for granted. It can evoke just as much emotion as other arts, and I find that amazing. Although I love watching things, storytelling keeps me sane, and I always have something to share or create. Audio RP gives me the opportunity to challenge my ideas, expand my knowledge, experiment with characters, and develop other skills such as audio engineering (which I love). But most of all, it lets me offer my stories to the world, and I'm so happy I'm able to do so.

9. How do you believe Audio RP differs from main stream forms of art/entertainment?

It's an interesting art form in its own right because although there are certain elements of story set in stone, for the most part it's personalised. Drawing from the way I create audios, the audience—even if they aren't projecting themselves onto them—is experiencing a story through the Listener. It's a limited perspective, and the only things that belong to the consumer are their thoughts, though it might not necessarily be canon to the plot. Most narratives are told through a camera, and what the viewer sees is carefully crafted for the purpose of the story. However, as Audio RP is told from a second-person POV, curating an experience is far more immersive, and I think there is still room to innovate with this medium!

10. Do you believe that your work has over arching themes that relate to you personally?

Without a doubt! Many characters share parts of me, whether that be likes, dislikes, ideologies, experiences, or even direct memories. It's easy to use yourself or people you know as a basis for characters, then build upon that to make them their own individual with their own journey.

Niall is the best example of this. At school, he was closeted but was outed against his will and bullied for being gay, and his crush (the Listener) at the time stood by and watched it happen. In the present timeline, Niall is a creative with a job that keeps him occupied, but those traumas shaped him into who he is: a socially awkward and wary man without love for the part of him he refuses to show. His fears of trust and making friends governed him, but above it all, he was afraid to accept who he is. His story explores that deep fracture: navigating what it means to forgive, changing a once rigid and cold outlook on the world, and in the end, permitting a chance for healing and closure, and realising that living without love is no way to live.

Though I didn't experience most of what he did, writing Niall was a way for me to also have hope in similar thoughts that I carry. It was somewhat therapeutic—more-so knowing that his story resonated with other people and helped them find some form of catharsis.

Thank you so much for these questions! I'm so sorry I wrote so much omg

#zsakuva #sakuverse #audio roleplay #boyfriend audios #audio rp #writing

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beautifulbows924 · 1 year

Text

Home

Poly!Kaz Brekker & Inej Ghafa x Gender Neutral!Reader

Masterlist

AFG Bingo Masterlist

A/N: This feels like a successful attempt at transferring my sudden inspiration to paper (lol). Honestly, I’m really enjoying learning the nuances to writing these new characters! And I hope it was worth the wait for those of you who saw the sneak peak! As always, I hope you enjoy. Feel free to leave any feedback you have in the comments and if you like my work consider leaving a tip! Thanks:)

Rating: Teen

Word Count: 1K+

Created for: @lgbtqbingo / Square Filled O3: Polyamorous Relationship.

Warnings: Violence, Angst with a Happy Ending, Fluff, religious undertones, vague spoilers for the books & show. (Paragraphs solely in italics are set in the past).

Loyalty may be seldom found among bastards and vagabonds, but Kaz Brekker had discovered suffering at the end of a gloved hand or the hilt of a cane served him just as well.

Dirtyhands became the stories, spoken late into the night by parents to regale the children of Ketterdam with, in case they thought it wise to stray into the tangled mess of filth the barrel had to offer. He became the whispers of an alley filled with shadows and the tight-lipped fears of those who would dare to cross him.

Rumors were as good as currency in Ketterdam, and he had heard them all. He had no eagerness to dispel them, they were all true enough.

Modesty was a commodity those without their freedom could only ever dream of, but Inej Ghafa had learned to use the nightfall of Ketterdam like a second skin.

A talent some swore must have been gifted to her by the Saints themselves.

Their rumors served her just as well. The Wraith became the whispered prayer among indentures and the grave reveal of words unspoken.

Secrets were as good as currency in Ketterdam, and she knew them all. Even his.

The rhythmic tap of your foot had become almost expected to him, comforting even. He always feigned annoyance at the action. Only internally allowing himself to wonder if you felt similarly about the sudden additional pressure of a cane against the tip of your boot.

Kaz Brekker had never believed in miracles. In luck, or Saints, or fate. But even a faithless man like him could recognize there was something of importance this moment had to offer him, and he’d never been one to turn down a deal.

He didn’t dare reach for your hand. Not here, not near the water. Not out in the open where anyone could catch sight of his failures.

Instead, he shifted his grip on his cane and poked your hand with the hilt until your fingers lightly wrapped around the crow's head, allowing him to feel the slightest pressure of added weight through his own hold.

Trying was easier than he thought it would be, especially with the sight of your half quirked smile as a lovely reward. It was a smile he had seen solely reserved for him.

He attempted to earn it as often as you’d allow.

Inej’s prayers sat heavy on her tongue.

She knew brutality. She knew the Saints would counsel mercy in a moment like this.

Yet not a word of opposition graced her lips as Kaz laid claim to the blood debt he felt he was owed.

She felt she was owed it too.

There was a past her that might have feared him once, but this was the same man that had worried if his tie was straight before he met her parents for the first time, so instead she asked, “Was this what it was like?”

The prolonged silence that came after wasn’t from the lack of context held in those six words. He was fairly certain they could retain the ability to read each other with a handkerchief stuffed in their mouths and their backs turned. He was simply attempting to discern which answer would be worse, the truth, or the lie he knew she’d see through regardless.

She slightly inclined her head toward him, the heavy scent of iron lingering around them like a stain. She watched how his gloved hands shook with boiled over rage, emotions poorly contained even in the dim light. To her, his silence had always been a response in it of itself. She wouldn’t pressure him, not now. She knew he didn’t want her to know, or perhaps—he didn’t want to relive those days for himself.

Maybe, she thought, he already was.

And as a former member of the Dregs stumbled down the alley, palm pressing hopelessly into the empty space where his crow and cup tattoo had formerly resided, searching for a sense of relief that would never follow, she wondered if that’s what Kaz Brekker’s mercy looked like.

He did spare him, after all.

Her lips bore the semblance of a smile, the only tell she provided in her knowledge of your quiet presence.

Your eyes remained steady to the horizon, face kissed with the last orange rays the sunset had to offer, patiently waiting until Ketterdam was once again cloaked in familiar darkness.

She couldn’t recall how the sun had looked that day. She was too captured by the sight of you.

The waves threatened to pull him under, a war of salt and foam just beneath his chin. He forced a pale hand to rest on the blood covered sheets, searching for reassurance, needing to communicate to himself that you were still there with them. Warm. Alive.

His other hand, gloved, loosely gripped hers. A reminder that she was there too.

Kaz Brekker had never believed in miracles. In luck, or Saints, or fate. But he believed in you, he believed in Inej, and for the first time, he prayed that was enough.

His expression shifted, lingering somewhere between exasperated and fond, a bit soft at the edges in the shared presence of those his heart had betrayed him for.

You looked similarly effected, eyes trained on Inej, committing her every feature to memory.

He did the same to you. For once, allowing himself to hope.

It’ll take time, she told herself, taking in a steadying breath as she walked to join the two of you at the bar.

“Inej”, Nina called from behind her, reminiscent of a time much different than the one they currently shared, voice low and intended for only their ears, “I once wished you could see what I did, hear each and every sound so you could understand what you were missing. But now”, she let out a light laugh, “When the three of you are together. It’s like home.”

It seemed as if a lifetime had passed since then, but Inej could still recall the words she had responded with, the confusion she had felt.

She smiled. She wasn’t that person anymore, and Nina was right.

She had found her home.

Thanks for reading! Let me know if you want to be tagged or un-tagged down below. <3

Shadow & Bone Taglist: @mxtokko

#Kaz Brekker × Reader #Inej Ghafa × Reader #Kanej × Reader #Kaz Brekker x Inej Ghafa #Kaz x Reader x Inej #S&B #Shadow & Bone #Six of Crows #Nina Zenik #Kaz Brekker x Reader x Inej Ghafa #Gender Neutral!Reader #lgbtqbingo #Jesper Fahey

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cursedvibes · 6 months

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Where is this story going?? What is happening

I really hope kenjaku isn’t actually dead

I hope so too because that would be very dissapointing. All it took was to distract Kenjaku and cut off their head? I would've accepted it (kinda) if it was Takaba who killed them. Given Kenjaku's words, they would've preferred that too, expected it even to some degree, but having Yuuta barge in there and do it is so anti-climactic. He never had any real connection to Kenjaku that would give this move any meaning and the way he did it there was no way to form one either. Anyone could've stood in his place and done it, there's nothing special to it.

All the possibilities for how Kenjaku could "survive" don't seem very good to me either. Cursed Spirit makes no sense because Yuuta is right there, he could just destroy it again, stomp their brain to mush. Plus it would remove a lot of nuance from Kenjaku. Other option is that Kenjaku's CT reforms them somewhere else. The theory that more of their original body is left could be true and they come back through that somehow. Don't like that either because that version of Kenjaku would inevitably be different from the Kenjaku we knew before and I just don't like there being multiple versions around. The character development of the last chapters would've been for nothing. Even if the new Kenjaku is the exact same with the same memories (despite the brain not being the same or even missing? or can Kenjaku create little parasite brains that activate when the main one dies?) I don't like the implications for their cursed technique. Why take on vessels at all if they can regrow? I'd need a very good explanation to believe that.

Last option would be someone else finishes Kenjaku's plan, but I don't know who. Sukuna would feel weird because he has no passion for it at all, although at least he has a connection to Tengen. Yuuji being some sort of sleeper agent would be weird too and take what little agency he has away. He doesn't care about Kenjaku or their plans at all, so that would be very out of nowhere. I'd like Yuuji to step in Kenjaku's footsteps, but only if he does it consciously and I'd also like some actual conversation between them before all that happens. Could also be that Tengen gets freed now that Geto's body is dead for good and spreads chaos. Probably the option I like most? Because that means at least something came of that.

My main problem is that as far as I can see there will be no meaningful connection to Yuuji. They won't meet and they won't talk. With the positive development through Takaba I could've seen Kenjaku be more open and honest about their intentions with Yuuji, but Yuuta's actions ruined all that. Instead Kenjaku dies somewhere far away, while Yuuji is busy with Sukuna and doesn't spare a second thought about it. He wasn't even at the meeting discussing the plan for how to kill Kenjaku. No struggle of what being complicit in matricide would mean to him, he doesn't have to face his last close family member at all, doesn't have to deal with all his family issues and more importantly doesn't even get one good conversation with the person who is responsible for all his suffering. Sukuna hurt him more directly, but Kenjaku is the reason Sukuna is even here and used to be inside Yuuji. They birthed him just to be a vessel, an experiment. They dehumanized him and while they do care about him, Yuuji doesn't know that. That would've been very important to make his thoughts on Kenjaku more meaningful. To him they're just some person he met once, who attacked him with centipedes, told him confusing stories and then dipped with the Prison Realm in hand. Just some mad scientist he abstractly knows is responsible for his trauma and what his half-siblings went through. Plus a weird dream he once had and that he seems to want to forget.

He could still find out more about Kenjaku and their intentions and past (through Sasaki for example), but that will mean a whole lot less without Kenjaku actually being around.

Idk, maybe I'm looking at it too pessimistic, but I don't see a whole lot of good coming from this. We got proof that Kenjaku is capable of caring about people, even now, even ones they haven't known for very long, and it all seems to become meangless. Giving them depth just to cut them off when it becomes most important is such a weird decision. Depending on how Kenjaku's "will" manifests in the future, I might change my mind, but right now it just saps a lot of tension from the story. All they need to do is kill Sukuna and that's it? Well I guess they still need to stop the Culling Game somehow because with "Geto" dead the conditions for it to end won't be fulfilled. They could destroy the prime barriers Tengen errected, which will also destroy jujutsu society as is, but...idk Kenjaku succeeds in a way, but if that really is the end for them that makes this even more unsatisfying.

Anyway, we'll see...

#jjk spoilers #jjk 243 #kenjaku #jjk leaks #asks

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carriehobbs · 2 months

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I keep thinking about @/fauville’s tags (“#literally no one else calls the detective by a nickname #not their mom. not tina or verda”) on this post and how it's just another example of the way that the constraints of interactive fiction as a storytelling medium (e.g., limitations in what the writer knows how to code, inability to account for all players' (and player characters') reactions to the text, nuanced conversations reduced in-game to multiple choice answers, etc.) inadvertently provide characterization for the game's characters.

to use @/fauville's example of the detective's nickname: tina and verda should, at the very least, know that the detective has a nickname and should use it; however, they use the detective's first name instead. this is speculation (i don't know if mishka has ever gone on-record to say why nicknames were not a part of book 1), but I suspect, from a writing standpoint, that this decision was made because nicknames hadn't been included in book 1 (perhaps because mishka didn't yet know how to code nicknames in choicescript, or because she hadn't anticipated players wanting a feature like optional nicknames) and it would have seemed jarring for someone who has always called the detective by their first name to suddenly start using a nickname midway through book 2. unit bravo can get away with this change because they hadn't known about the nickname previously (doesn't know about the nickname -> learns about the nickname -> uses the nickname) in a way that tina and verda, who have known the detective for years, cannot (doesn't know about the nickname -> learns about the nickname -> doesn't use the nickname for years -> suddenly starts using the nickname with no explanation ??).

just because we, as players, can acknowledge and understand the external factors that influence a game's production (e.g., not knowing how to code a particular feature at the start of the series and later learning how to implement that feature, if this is indeed the case), doesn't mean that I think we should ignore the implications these gameplay (and game-making) decisions have for the coherence of the story and character. perhaps tina and verda's use of the detective's first name was motivated by external factors, but it still says something about the characters that they do so (perhaps it lends to the way that verda can sometimes seem more formal or put-together, or speaks to a past between tina and the detective before the detective started using a nickname, etc.).

even more interesting (to me, at least) are the implications that rebecca choosing to use the detective's full name has for rebecca's character and her relationship with the detective. rebecca will call the detective by their first name regardless of both their past relationship and their current relationship. in a low-approval playthrough, it is pretty easy to come up with reasons that rebecca might not call the detective by a nickname. perhaps she doesn't feel like she's close enough to the detective to use a nickname. perhaps she and the detective are so distant that she doesn't even know the detective would prefer to be called a nickname in the first place.

furthermore, what does it say about rebecca that she still won't use the detective's nickname even if they are close? we've seen through the series that, even on a high-approval playthrough, rebecca seems to feel a lot of guilt for not being around through the detective's childhood (regardless of how that guilt actually informed her actions) - is her refusal to use a nickname she should know about some kind of self-flagellation wherein she doesn't feel as though she deserves to be close to the detective and so she creates an artificial distance between them through the use of their full name? what motivation does rebecca have for not using the detective's nickname, and what does it say about her that she doesn't?

I just find it endlessly fascinating the ways in which the constraints of the medium can unintentionally provide characterization for the game's characters. I don't think that we, as players, should write off these moments of characterization just because they were the results of a constraint. regardless of whatever external factors influence the game's production, why, in-fiction, does a character do a certain thing, and what does that action or decision impact how we understand them?

#wayhaven if #sorry for saying the word nickname so much 😔#edit: to be clear i don't think that anyone does write stuff off bc it's externally-motivated. this isn't about anyone in particular #i just think generally that we shouldn't #another edit: corrected a small typo

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your-alien-friend · 7 months

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I don’t like that they killed Izzy, but I don’t think they did it for the wrong reasons like many others have said. But I also don’t blame them for feeling that way. Sure, the show is full of old, queer, kinky, disabled characters. But Izzy is the only one we get to see reckon with that in real time (besides maybe jim but that is done really quickly with minimal discomfort).

I’d argue he’s among the most important queer rep in the show because he does struggle with those things. Ofmd created a wonderful world where aside from little peaks of the outsiders views here and there, everyone is accepted. I love that and would not have the show any other way. It was so important for me to see people like me be treated as just… normal. But there does create a kind of dissonance with relating to those characters because we don’t live in that world.

That’s where I felt Izzys presence allowed them to excel in that respect. He let them paint a complete picture. Ed and stede remind me of my early teens, the discovery of an attraction that feels right in a way nothing else ever did, the sweetness of that first true love (along with the ups and downs of homoerotic friendships lmao). They’re the experience you have with another person. The crew of the revenge remind me of getting older and finding community, the safety and camaraderie and relief you get with that. They’re the experience you have with a community. But Izzy, he reminds me of myself through all these stages. He is all the self hatred, the misplaced aggression, the isolation. And then he gets to be the beauty, and acceptance, and levity that comes with truthfulness to who you are. He is the experience you have with yourself.

And that’s exactly why his death is so devastating. He was such a heavy lifter.

I think there’s also something to be said about Con O’Neil opening up about being a queer man himself and experiencing some of Izzy’s journey with him through the show, and perceiving him loosing that as well.

So yeah I think it’s a big loss that outweighs the narrative benefits. And I think we all have a right to mourn that. But I don’t think it’s fair to throw around all these baseless accusations at the creators. While there’s more nuance to why loosing Iz is such a big deal, this is undeniably not because of writers being against who he was. It’s the classic archetype for his character type, you sin, you make amends, you die. I do think maybe more input from queer writers could have prevented him not being fully appreciated outside of his ‘literary’ function, but that’s speculation.

I’m sad and angry too. But I’d rather focus on what we were given with Izzy and all the work Con O’Neil put in to fully flesh that out. Their story really is a monument to how community and fiction can change lives, and just how closely the two are intertwined.

And I’m grateful for what Izzy got to be. He could have easily been thrown away as the bad guy but instead he got to be so so much more. I’m glad we got to see that, even if his end wasn’t befitting of his journey.

Anyway rip Izzy Hands you were a real one and I’ll love you forever. Everyone else stop bullying David Jenkins I’m in your walls.

#tldr: the nuance is nuanced #sorry for the weird formating I had to copy paste from my notes cause tumblr ate the first try of this post #now TWO hours have gone into this bc I couldn’t remeber what I put the first time #anyway I did it cause it took me a while to pick apart my feelings about this and I wanted to help others struggling with doing the same #bc these conversations are important to have #nothing exists in a vacuum #a show is never just a show #anyway I study anthropology if that adds an credit to this #probably not tho but whatevs #ofmd analysis #ofmd meta #ofmd spoilers #ofmd #ofmd s2 #our flag means death #con o'neill #izzy hands #discourse #noah rambles

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magicalswordgirls · 10 months

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Heh, I’ll draw a better Aerial next time. The important thing is that I got over my fear of drawing mecha and also over my fear of building plastic models of robots, so thanks, Okouchi! Some headcanons and ranting under the cut. (With spoilers)

For some reason most of my WfM fanfiction has been centered around Aerial/Ericht ever since the theory about Aerial being Eri started circulating during the first season. I’ve been thinking about AU’s where she doesn’t lose her body and instead is an older teenager/young adult who has to deal with a mother obsessed with revenge while also trying to protect her little sister from the consequences of said revenge (and precisely because of that, she ends up questioning herself wether following her mother’s path is worth it or not).

I think that Eri was a character with a lot of potential in the story. She’s this girl who lost absolutely everything, who might be sad and angry about it but can’t do much on her own. She loves her family and even if she also wants to help her mom get revenge, she knows that it’s wrong and she doesn’t want her clone/little sister to get involved in any of it but, yet again, she can’t prevent the fact that her sister is used as a pawn, and she’s also being used, even if her mom doesn’t want to admit it. The dilemma of wanting to help her mom while simultaneously wanting to protect her sister’s innocence is a very compelling part of the story. Also the relationship between the sisters had a lot of potential. Eri could’ve seen Suletta as everything that she wasn’t able to become and that could’ve lead to very complicated feelings. There were a lot of elements that would have turned Ericht into a very interesting and nuanced character and I’m not even mentioning the transhumanism angle, there was a lot that could be explored in that area.

However, as we know, there wasn’t much about this character in canon (even if she was important for both the protagonist and the antagonist of the show). She remained a mysterious figure throughout most of the story and we didn’t get to know much about her motivations. In fact, most of what we know about her comes from the short novel “Cradle Planet”, the anime didn’t bother to put that information in the story and that’s why for most viewers she’s this creepy girl haunting a Gundam who’s almost as big as a jerk as Prospera. To be honest, I was expecting her to be more conflicted during her battle with Suletta or at least I wanted to kow why she was so convinced to follow her mother’s plan. At the end we didn’t get any of that, and she remained as an underdeveloped character.

So yeah, I have the impression that in my head I made up this nuanced and tragic character out of someone that ended up being a Funny Little Guy inside a keychain. Well, I guess this is very common when one starts liking a secondary character from a show. (I always wondered how people would make long essays and fafics about characters that didn't do much in a show... guess I'm that kind of person now).

Well, I suppose that I’ll have to stick to my fanfics and headcanons, at least I know that nothing I could write’s gonna be more wild than what actually happened in canon. So there’s that.

…Thanks Okouchi :/.

P.S: I like to speculate what kind of teen/young adult she would’ve been, specially in slightly less tragic AU’s, maybe she’s more like she was in the Prologue or she’s a little bit messed up because she’s shielding her sister from everything that’s wrong with their family. Idk, I just find her very fun to write (although I’m always aware that I might be creating some sort of pseudo OC, man I really wish that canon had given us more material to work with!)

#gundam the witch from mercury #g witch #gundam suisei no majo #ericht samaya #gundam aerial #It doesn't help that I see her as a Rose Bride character

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