#I've never liked a protagonist more that's for sure

[oakgreenoak]

Something I've always found kinda interesting about Red and Green in gameverse is how they turn some of the Stock Shōnen Protagonist/Rival tropes on their heads.

This is really long character analysis of these two and various media counterparts of theirs, so I'm gonna stick it under a cut.

In some ways they fit their roles quite well - aside from the obvious colour associations, you have Red as the hero whose sense of justice is stronger than his sense of self-preservation, and you have Green as the privileged rival who cares about beating Red above all else.

But, if you look at it another way - Green's got the light spiky hair, the hot-headed and boisterous personality, the drive to Get Better And Win. He's designed to read as really open and chipper, yet snarky. Sure, he isn't dumb, but he's arrogant, and he's got something of a one-track mind; the guy finds himself in the middle of a hostage situation because he's just that hellbent on fighting his rival, and does not seem to be thinking about anything else. He's also got a motivation - given how the Professor talks to him in the championship room and supplementary material like his Generations appearance, it's not a stretch to think the reason he's so driven to Get Better And Win is to prove himself to his grandfather. It's shown in later games and supplementary works that he's become somewhat of a mentor as he got older and wiser.

Red, on the other hand, is a quiet loner whose only motivation seems to be to get stronger for the sake of getting stronger. He's level-headed and dark haired, his cap rounding off his edges and obscuring his face. He's heroic, but not really sociable, as evidenced by the fact he spends the Johto games alone on a mountain without having told anyone where he went. He seems isolated in a way that later games' protagonists really don't. He may have always been a step behind Green, but he's always better.

Equally fascinating to me is how other adaptations have changed the base designs around and rewritten personalities to suit different purposes, while still being visually recognisable as counterparts to their game-selves.

For example: Red and Green's counterparts in Special slot WAY more neatly into their stock shōnen roles, with Red as the boisterous hero and Green as the broody rival, and it's reflected in their new designs.

Red's hair becomes spiky to reflect his more excitable nature. His hat, in turn, never obscures his face; it's always either tilted back to accommodate his fringe or turned backwards. Green's hair, on the other hand, is not quite as spiked upwards and instead falls into his face, frequently obscuring his far eye in the same way game!Red's hat does.

And then, of course, the anime balanced them in a totally different direction.

Instead of scrapping Green's personality wholecloth, it's become exaggerated in Gary. He's not the broody antihero rival, he's the arrogant, privileged, better-than-you rival. He's always ten steps ahead of Ash, always pisses him off, and is ALWAYS better until the end of his run. The anime also emphasises his intelligence far more, with him doing things like rattling off dex info and the speed of light in mph off the top of his head, to further contrast him with Ash.

Ash, who is of course THE shōnen protagonist. He's dumb, but determined, and always ready to help people in need. Unlike game!Red, the power of friendship (with more than just pokémon) is central to him; any given season of the show is defined as much if not moreso by his travelling companions and interpersonal relationships as it is by whatever he's actually doing.

It's funny to me, though, how most adaptations seem to find the fact that gameverse Red and Green have swapped some stock roles as something to fix. Even Origins, which is probably the closest a high-profile adaption has come to game-accurate, made its version of Red louder and more standard-hero-esque.

I'm not knocking any of these things, of course, just observing. I adore both Special and anipoke. I just think that the way the game characters are written could lead to some interesting dynamics were it to be explored more.

#pokemon #reguri #pokespe #pokeani #anipoke #trainer red #rival green #blue oak #dexholder red #dexholder green #ash ketchum #gary oak #character analysis #sorry not sorry for writing an essay on a whim. it will happen again #namelessshipping #originalshipping #palletshipping #kindanotreally #but i think yall will appreciate my char analysis of them as a dynamic yknow. i am one of youse

[capisback]

one other thing I really like about one piece is that, while Luffy is the protagonist and he’s very strong, he acknowledges and outright states that he needs others in order to survive. It’s incredibly tempting to make your protagonist be The Guy in all circumstances, only needing to be helped here and there, mostly in largely inconsequential situations, but one piece doesn’t do this. It says “there’s a lot of things you can’t do, and that’s alright, you don’t have to be able to do everything. Your friends and family, whoever you choose to have by your side, will fill in the gaps” and there’s something about it that is so incredibly beautiful

#when I tell you oda has taught me a lot about writing I am not kidding #there's so much to appreciate with what he writes #Luffy is by far my favorite protagonist #ever I think #I've never liked a protagonist more that's for sure #it's legit so tempting to have your protagonist be So Cool and So Competent #but that's exactly what makes One piece so good - that Luffy isn't completely self-sufficient #that he needs his crew and that he knows he needs them #love that so much #cap talks #one piece #op

[birdkittenn]

just remembered an extremely old oc. girl i have great plans for you

#rambles #she was my mary sue kid icarus uprising oc protagonist girl angel when i first made her #and then i just left her there and never did anything with her #but honestly? honestly. i can remake her. i can make her better #im plopping her down in my oc world #current initial idea i have is that everyones an anthro so i get to be funkier with designs #im not great at designing clothes so having all the characters be humans is like making 'guy with the shittiest closet number 69' #with that in mind. angel will be the only character with a human face and shes going to be all ~angelic~ or whatever #that was her initial idea anyways back in 2015 where she looks a lot like some pretty woman with wings #anyways shes like an anglerfish where she will lead you to your death #go girl lure people away and feast on their flesh #i think she'll have an alternate form thats more grotesque #not her true form. i dont think she has one. but its not the angelic illusion she often wears #but yeah i like the idea of repurposing this 'girl who can do no wrong' oc into something that you dont want to encounter #also she has a twin but im not sure what to do with that twin. might scrap her. woops #oh what if i repurpose her twin into being some sort of Creature Hunter #wait wasnt that one of fen & rey's scrapped dynamics #well they dont have that anymore since i've made rey less of a monster creature and more of a human who fucked up badly #but the monster rey ideas were cool... i could reuse that on a different character

[oceandiagonale]

How did gene die???! (I'm afraid I haven't read past the legends arc yet but I absolutely love you character and what you've done with the characters in the games/the plot! It's such a cool and unique take!!)

AH it was back in the 2014 Kalos takeover, took a full-force oblivion wing

and he still hasn't told his office squad 😳

anyways welcome to the blog; woe, lore be upon ye 😭😭😭

#oceandi answers #anonymous #generic protagonist #sdkfhsjkdhf thank you!!! #I swear I didn't mean to make this blog's lore so twisty and turny but to be fair I never thought more than a few people would read it 😂😭 #I've never showed the full scar from that on screen but that's why he's got the ones on his shoulders in that pattern 👉👈 #it's also why he always wears sleeves and a high-necked or turtleneck shirt in modern day #anyways it's not like he HAS to tell anyone about it but he does WANT to he's just not sure how to go about it and now it's been so long #that it would be weird to bring up out of the blue sdjkfhskdjhf #links

[crustaceousfaggot]

An outsider's knowledge of The Locked Tomb series, based on what I've seen from Tumblr.

So it's a series of books. Idk how many they are (at least 3? And they're still coming out) but I'm pretty sure they all have the suffix "the ninth". Idk what this means.

One of the books is called "Nona the ninth" but I feel like I never hear people talking about a character named Nona so idk what that's about

The two protagonists are Harrowhark and Gideon. They're very much in love but also I think there's some elements of Toxic Yuri at play. Not like enemies to lovers but more of like a codependency thing I think?

At some point one of them eats someone I think?

Harrow is the little goth one and she's like. Angry and bitey and very wetpathetic like a gutter cat.

Gideon is the taller ginger one who's a bit more butch. She's also angry and bitey but less so? I am attracted to her.

Harrowhark and Gideon are part of like... An order of space nuns who do necromancy. It seems like Harrow takes this responsibility more seriously and Gideon just wants to fuck around and look at tits.

That's why they have the skull makeup. Because they're Necro Nuns

Idk why Harrow is always drawn with the Bone Corset thing but Gideon isn't. Idk if this is just because she's Like That or if it's like... A separate uniform she has for whatever reason.

There's a lot of angst derived from how Harrow is like... Indoctrinated and controlled and lacks agency in her own life.

Harrow and Gideon are separated at some point and fans are very keen to see them reunited. Maybe. I might be making that part uo

There's a blonde woman named Ianthe? Idk what she does though. That's the only other character I know about.

As far as I know there are no men. Or at least no men worth talking about.

I'm not sure what the titular Locked Tomb is all about. Presumably something to do with necromancy.

You know for a series that people call the "lesbian necromancer series" I feel like I rarely hear people discussing the necromancy parts.

I'm also unclear on the time period and setting. I think it's set in space but idk if it's like a far-future thing or an alternate universe or...?

There's a lot of perspective-hopping. I think it also switches between 1st and 3rd person POV which is neat I suppose

I heard somewhere that it's loosely based off of a Homestuck fanfic but idk if that's true

#tlt #the locked tomb #harrowhark nonagesimus #gideon nav #i think those are the right tags #fandom osmosis asks #1k

[little-hermit-crab56]

I've been writing for a while so I thought I'd share some writing tips I've learned along the way.

1. Never sacrifice the flow for a quirky line.

That bit of dialogue or flowery paragraph you really like but it kinda disrupts the flow? Scrap it. I know it hurts, but you need to. If you really want to keep it, find somewhere else to put it where it actually fits in.

2. Dialogue is a dance.

Dialogue should go at the pace of an actual conversation, back and forth with little breaks and pauses. Add as little dialogue tags as possible while still making it clear who is speaking. You can also describe what is happening during a pause in the conversation rather than saying they paused, unless the pause is important.

3. Show don't tell is a guideline, not a rule.

Show don't tell is a very useful guideline, but if you're ALWAYS showing it can get exhausting to read. Skip the boring bits and just tell us what happened, then we can get to the good stuff.

4. If it's boring to write, it's probably boring to read.

If you can cut out a whole scene with little consequence to the story, you probably should. As I said before, you don't always have to show us, you can always tell us.

5. Everything needs to have a purpose.

I know there are probably lots of interesting or cute scenes where your characters are just fucking around, but if it doesn't develop character, relations, conflict, or plot, why should we care? Definitely still write them if they make you happy, but if you're gonna add it to your final draft, make sure it matters.

6. You don't need to explain everything all at once.

I know it feels tempting to put all the lore, and all the character's intentions, and reasonings into the first few chapters, but please refrain, you can reserve that for your character and worldbuilding sheets. Instead, take the time to let us get to know the characters, and the world, in the same way we'd get to know a real person. Make your exposition as seamless and natural as possible. It will take practice to know when to reveal information and when to let us wonder, but you'll get there.

7. Write in a way that comes naturally.

I know you probably have an author you wanna write just like, but that is unlikely to happen. Embrace your natural writing style and perfect it, rather than trying to be something you're not. Writing is an art, you need to find your own style and polish it as best you can.

8. Try to make us feel connected by cutting out certain words like "felt".

"Chad felt like a glass of water." Can be replaced with, "Chad was thirsty, so he reached for a glass of water." Both sentences tell us Chad wants a glass of water, but one makes us feel more connected to Chad than the other. Though both sentences have their time and place, you want to make your audience feel as close to their protagonist as possible. Make them feel like they're there, rather than just an onlooker.

9. We don't need to know every physical detail of your character.

I know you probably spent ages creating the perfect characters and you want to give us the perfect image of what they look like, but it can get monotonous and boring, why do we care that your character has brown eyes unless the colour has some sort of significance? Try to list off only the most notable features of your character and put focus only on the relevant details. Sometimes you can even not describe them at all and throw in little bits of information about their appearance for the audience to put together. We read to imagine, not to have a perfect image painted for us when we could be getting to the plot.

10. You're allowed to be vague.

Allow your audience to assume things, with some things you can just be lazy and let your audience's imagination do the work for you. Of course, don't do this with important things, but you can save so much time you might've spent researching an irrelevant topic when you can just be vague about it. You don't have to know everything you're writing about, so long as you know the bits that matter.

11. Writing is a skill that takes practice.

Don't be so hard on yourself if your writing is a bit cringe, we've all been there. The important part is that you research how to get better and keep writing those super cringe chapters. One day you'll reread something from a while ago and realize you're actually not as bad as you thought.

12. Leave your work to rest.

I know you wanna start editing right away, but once you've finished, leave it for at least a month. The longer you leave it the better, but that depends on your attention span. A month to six months is good if you're really impatient but want a good result. If you keep writing in that time your skills will continue to improve, then you'll be editing that draft with fresh eyes and fresh skills.

And if you're a fanfic author, I usually leave my chapters for a week before editing and posting.

Hope this helps anyone struggling, I thought this might be especially relevant now with nanowrimo.

I recently realized how much knowledge I've been accumulating over the years, I definitely have more but this is all I can think of for now.

I'm no writing guru, but if anyone has anything they're struggling with, I can do my best to help you out, so dont hesitate to ask questions.

#writing tips #nanowrimo #story writing #writers on tumblr #writeblr #writerscommunity #writing #writer

[awearywritersworld]

there can be no covenants between men and lions

ryomen sukuna x reader summary: sukuna would rather contemplate your murder than come to terms with his feelings for you, but you call him out on his bullshit. w/c: 3k tags/warnings: enemies to lovers. angst to fluff. aged up!yuuji. heavy kissing. features yuuji x reader and he is, of course, best boy. cursing. sukuna decides he wants to kill you (so obviously there are mentions of murder and such) but cant even stand the sight of you upset, what a goof. i'd once again like to think sukuna's not too ooc in this but im still more than likely delusional. not canon compliant. fem!reader. no use of y/n. no manga spoilers. a/n: i was so touched by all of the love that part one received, i wanted to try my hand at part two. i hope i've done it justice! just as part one references homer's the odyssey, this references homer's the illiad because sukuna is very hot and well read. achilles, the protagonist of the novel, is discussed. i'm definitely open to writing a part three, because this one is much heavier on the angst and i miss soft sukuna from part one. series masterlist // masterlist

you and yuuji rarely argue, but when you do, it's often over his aversion toward seriousness, even when a situation calls for it. though you really should have kept your mouth shut, because in this moment, you'd give anything to see his typical carefree expression.

his eyes are regarding you intently, taking in your flustered appearance with knitted brows.

"yuuji..." you trail off, wracking your brain for an explanation of your current predicament.

despite the fact he regained control of his body only moments ago, one of his hands is curled around the back of your neck, while the other is resting on your hip.

"baby, what happened?" he presses, the tone of his voice entirely unreadable.

"s-sukuna," is all you can manage to choke out.

his eyes darken immediately, his jaw tensing in a way that intimidates you. "he hurt you."

you really can't tell if it's a question or a statement, and your response comes a little too quickly. "no! that's not... no."

the next few seconds tick by in a slow sort of agony, heat creeping up your cheeks.

he notices for the first time that his head is eerily quiet. no snide remarks, no scathing commentary. just his own thoughts as he pieces together the situation.

his gaze drops to the angry, red marks littering your neck and you watch in helpless horror as understanding passes his features.

"oh."

the word hangs in the air as you await his reaction, fully anticipating disgust and betrayal. you're positive it's only a matter of time before he throws you out of the apartment and tells you to never come back.

what you don't expect, however, is the way his shoulders relax as the tension leaves his face.

he straightens himself, arms falling to his sides, but he doesn't put any distance between your bodies.

"how long have you...?" he's not quite sure how to phrase the question.

"a few months. this was the first time anything... um... happened. we usually just talk."

he tilts his head to the side, so you clarify. "after you've fallen asleep."

mulling over the information, he hums in response, looking thoughtful for a few more seconds. then, his usual demeanor is back and he grabs your hand. "wanna get dinner? i'm starving!"

he tugs you a few feet toward the door before you come to your senses. "woah, woah. wait a second, yu."

when he looks back at you expectantly, you find that his face holds not one hint of bitterness or judgement. "aren't you angry?"

you're amazed to find that he's the one looking sheepish.

"how could i be? it's not exactly easy to be with me when i have a thousand year old curse rattling around in my body, but you stay anyway," he expresses, making your heart soften. "i just want you to be safe, so i'll take whatever relationship the two of have now over him being a threat to you."

as your hands reach up to cradle his face and your eyes sparkle with adoration, you briefly wonder how you ever found such a sweet man. he places a quick kiss to your lips, the smile on his face easy going as ever. "sooooo, i'm thinking takoyaki or maybe udon—"

"we can get whatever you want," you glance at the spatters of blood across his chest left there from the mission, no doubt from sukuna's careless slaughter. "as long as you go wash up first."

"right!" he agrees quickly, bounding off to the bathroom.

you stand alone in the middle of your living room, left with the ghost of both yuuji and sukuna's lips against yours and a sense of bewildered excitement.

back in his prison, however, sukuna is furious with himself. he should have let you die that day he kept you from being run over. better yet, he should have killed you with his own hands before the brat won back control of his body.

he is a terrible being that delights in carnage, a fact that's well known even centuries later. so why, when he could have done anything in the world, did he go to you? you even asked that same question before you—

he rejects the memory of you pressing your lips to his disdainfully.

your foolishness and your naivete are revolting. your softness and your pliancy are nauseating.

he shouldn't have been anywhere near you, if not to rip your obnoxious heart from your chest like he'd always planned. it was a situation he'd dreamt about and now it's slipped through his fingers, even though those same fingers had graced your fragile little neck.

you were nothing more than a clueless mouse in the jaws of a snake, and though the pains of hunger have been tearing at its stomach for years now, the serpent let itself starve.

sukuna retreats to his domain, fingers prodding at his temples irritably. he allows himself to wallow for a few hours, shutting out both you and the brat.

then, steeling his resolve, he begins to watch and wait like the predator he knows himself to be.

lulled into a false sense of security regarding your safety, it's clear that yuuji has let his guard down. just barely so, but enough that sukuna can see a few weaknesses in his chains. ironic seeing that, now more than ever, the king of curses wants you dead.

it goes without saying that he promptly ceases his nightly interactions with you. it's beneath him, wasting his time with a human. he knows that now.

but while he may not speak to you, he cannot refrain from stealing glances as the days stretch on. you're usually reading, completely oblivious to his watchful eye. he convinces himself it's simply to keep tabs on you, as he's deemed you his foremost enemy.

he's not sure how much time has passed when you begin calling out for him in hushed whispers after yuuji falls asleep, the hurt and confusion in your voice plain to him. it's irksome, and evidently, you're incapable of taking a hint.

his silence becomes more painful with each turn of the moon. you're a bit mortified to find that you genuinely miss him, so you just want answers. did he finally realize that you're nothing special, not worth bothering with?

eventually, growing restless, you all but beg him. "sukuna, please. talk to me. what happened? what'd i do wrong?" his chest tightens with what he believes is vexation. "you can't just make me like you and then disappear. you can't kiss me like that and then—"

"you insolent, maddening little creature!" his eye flies open just in time to see you gasp, your body jerking away from him. "shut up already! can't you see i want nothing to do with you? don't you tire of being pathetic?"

you don't dignify him with a response, swallowing thickly and turning away from him.

finally, he thinks, some fucking quiet. though if he's gotten what he wanted, why does his chest still ache?

he stares at the back of your form until the sun rises.

sukuna is no simpleton. he can be patient when he is sure of a reward, but he's thrilled that the perfect opportunity arises just two days after your encounter.

yuuji is exhausted. gojo kept him out all last night, despite the grueling mission he had today, and when he all but stumbles through your apartment door, the moon is already high in the sky.

you never mention the change in your relationship with sukuna to yuuji. even though he was so understanding, you still feel a touch awkward discussing it further. and maybe in the back of your mind, you're holding out hope that it might go back to the way it was.

sukuna watches through yuuji's eyes when you greet him, your expression half concern and half 'i told you so'. nights out with gojo usually lead to this very situation.

he showers while you finish cooking dinner and once you both eat, he helps you clean up despite his exhaustion. after whispering his thanks and pressing a kiss to your temple, he retires to bed.

you promise you'll join him soon, but sukuna knows it probably isn't true. following his outburst, you've taken to staying in the living room until you're ready to sleep.

yuuji's out before his head hits the pillow and nearly two hours later, you're still not in bed. sukuna's eager, but waits until he's sure the brat's deep in his slumber before he tries to take over. it's relatively easy, and he pushes down yuuji's unconscious mind as far as he can before rising to his feet.

this is finally it. he stretches his limbs lazily, a dangerous smirk settling on his lips. the floor creaks with each step he takes, but he pays no mind to stealth. you're no match for him.

tonight, you'll be his first victim of many and the thought of making up for his past misjudgement has him giddy with excitement.

but the sight that greets him upon exiting the bedroom— you curled into yourself on the couch, your shoulders shaking with quiet sobs— it stops him in his tracks.

he wants to move, more than anything, so what the fuck is wrong with him? is the brat taking over already?

and why is that uncomfortable sensation making it's home in the center of his chest once more?

when you notice his presence, your face shifts to him and reveals your wide, teary eyes. it's clear you're surprised by his appearance, but you quickly bury your face in your knees.

you just want him to leave you alone. you hate him for what he said, for what he did. he forced his way into your life, made you care about him, and then he just vanished. he's cruel and you feel like an idiot because you should have known that from the beginning. or maybe you did and he just made you forget.

"go away. i.. i don't want to see you."

he's disbelieving, for a brief moment, that here you are giving him orders while he stands in the doorway with the intention of taking your life.

he moves toward you, invading your space in a way that is meant to be intimidating, but when you look up at him, every emotion ranging from sadness to rejection to indignation is etched into your features. though the terror he hoped to inspire is noticeably absent.

"i said go away!" you swiftly stand up, your hands meeting squarely with his chest as you push him with every ounce of power you have.

you may as well have shoved a brick wall, as he doesn't move even a fraction of an inch. he seizes one of your wrists anyway.

"what is it you think you're doing, exactly?" he spits.

"let go of me!" you beat against his chest with the hand he left free until his fingers wrap around that wrist too.

"enough."

he's certain there isn't a being that has attacked him (if he can even call that an attack) and lived to speak of it, not once in an entire millennia.

so just end the insolent brat and be done with it, he urges himself.

but he can't and he doesn't understand why, so he just stares down at you.

"what the fuck do you want?" you mean for it to come out forcefully and full of spite, but your voice cracks before you can finish.

an excellent question, indeed. what does he want?

he doesn't answer you and it's so goddamn frustrating that you begin to cry again, rambling to fill the discomforting silence. "you've already told me i'm pitiful and annoying. it's clear you think my company is insufferable, that i'm undesirable—"

that ache in his chest is unbearable now. it claws at his ribcage and shreds the flesh of his heart. it makes his stomach twist uncomfortably and rings shrilly in his ears. he can't even hear you anymore, but he can still see the tears sliding down your cheeks and the way you gasp between words.

the truth of the matter crashes down on him and the devastating weight of it is so crushing it squeezes the air from his lungs.

that feeling in his chest isn't annoyance or repugnance. its anguish— the kind that rattles his bones and leaves him sick with regret.

it's because you're in pain, and worse yet, he is the cause of it.

sukuna pushes you back against the wall before you can comprehend what's happening. his hands find either side of your face and you're alarmed to find that he looks... frightened.

"what are you doing to me?" he pleads for an explanation, because he sure as hell doesn't have one.

how can one little human hold such power over him? it's unnatural. it defies all logic and reason.

you stare at him, open mouthed. his face is so close that his breath fans across your skin and it makes you feel dizzy.

"what are you talking about?" you finally ask.

"you should be dead right now," he frets, despair seeping into every word. "it should be easy."

it dawns on you that you should probably feel afraid, but you just don't. his touch is firm, but careful. and there's no malice to be found behind his eyes. "you're not making any sense."

he thinks back on the time you've spent together, trying to figure out how the hell he ended up here— him at your mercy, rather than you at his. he remembers the first time he made you laugh and considers that it may have been the beginning of his unraveling. for the following two weeks, you both discussed homer at length as you made your way through his poetry.

"there can be no covenants between men and lions. wolves and lambs can never be of one mind, but hate each other through and through." you blink at him, recognizing at once that he's quoting the illiad. his voice is low and unsteady in a way that suggests desperation. it makes you shiver. "therefore there can be no understanding between you and me, nor may there be any covenants between us, till one or other shall fall."

your eyes narrow as you begin to understand his his internal struggle, though you're unsure if he's attempting to reason with you or with himself.

"you quote achilles, and rightfully so i suppose, given your common qualities— exasperating pride and a penchant for meaningless violence." he looks relieved, like your seeming agreement eases his mind. it's short lived. "but you forget his passion."

his gaze shifts away from you, his hands withdrawing from your face.

"his passion?" he repeats as if it's the most incredulous thing he's ever heard.

"by the end of the story, is he not acquainted with regret, sympathy, and respect? he doesn't remain blind to the error of his ways forever."

"only a foolish human could make such fanciful deductions," he chides through gritted teeth, still refusing to meet your eye.

you actually laugh at him. "perhaps you shouldn't call upon achilles to make your point after all. at least he grows out of his utterly childish view of the world."

"how dare you?" he demands, his features growing wild as one hand finds your throat (his touch not nearly harsh enough to cause you any discomfort), the other colliding with the wall beside your head. his display doesn't fool you though. "you witless, wretched brat! you're nothing more than a blip in a universe you cannot even begin to understand. you sicken me."

you throw achilles' words in his face just as easily as he did to you. "hateful to me as the gates of hades is that man who hides one thing in his heart and speaks another."

his gaze hardens, and for a split second, you think you may have been mistaken in your fearlessness, but then his fingers thread themselves through your hair and he pulls your lips to his.

it's rough and commanding, and he tells himself it's only to get you to shut up. to wipe that expression of smug pity from your face.

it's not because, despite the fact you know how awful he is, you're convinced there's something salvageable in him too. nor is it because you tyrannize his every passing thought. and it's certainly not because the feeling of you pressed against him brings him more satisfaction than ripping the hearts from the chests of a hundred men.

ultimately, his denial is overshadowed by his desire. your touch is nothing short of needy as you tug at his shirt, an attempt to bring him even closer, and god does he hope that means you feel just as desperate as he does. he deserves at least a little consolation.

as his hands roam every valley and curve of your body, he deems it unfair that a being whose very existence spells hell on earth should be so taken with such a devastatingly divine creature.

"i've wanted you so terribly," he mumbles against your mouth before he can stop himself.

"then fuck you for making us both wait," you breath out.

his fingers dig into the flesh of your hips in response and his lips shift to your neck. "watch that pretty little mouth of yours, brat."

he nips at the spot just below your ear hard enough that it makes you gasp, doubtless a punishment for your impudence. you recover quickly though, wasting no time with your flippant reply. "or what? you'll go back to plotting my murder?"

he pulls away from you abruptly, sighing deeply and pinching the bridge of his nose. "you truly have zero sense of self preservation, don't you?"

"guess so," you shrug, smiling at him bashfully. "can we watch a movie? i'll even let you pick."

you ask as if it's the most normal request in the world. as if he isn't a thousand year old curse that would be off turning the city to ash were he not here with you instead.

he rolls his eyes, scoffing at the ridiculousness of it all. "fine."

#m!writes #sukuna #sukuna x reader #sukuna imagines #sukuna angst #ryomen sukuna #ryomen sukuna x reader #ryomen sukuna imagines #ryomen sukuna angst #jujutsu kaisen #jujutsu kaisen x reader #jujutsu kaisen imagines #jujutsu kaisen angst #jjk #jjk x reader #jjk imagines #jjk angst

[rui-drawsbox]

remembering the most memorable mc's (with canon appearences) from the otomes i played

all of them are phone games btw. and looong rambling about the games after the cut!

Mystic messenger has been in my radar since i was in elementary school but i played it for the first time after the spanish traslation came out (2017 i think?) Seven shaped my type in such a specific way that im not really sure why loved him so much (it was the whole "he loves you in every route" stuff). I like a lot the default mc, most of the fandom did and that was enough to won me over

Rosa is top tier protagonist tbh, Tears of Themis has really good story and characters (as far i played, not a lot but i enjoyed it) The reason i'm not that much of a fan is bc the game is expensive asf and not very free to play friendly. You're either lucky or have a big wallet with the gacha

i miss my wife man(Marius)

Ephemeral has to be one of the best free to play otomes i've played tbh (if my memories aren't tricking me, it's been years) Good artwork, good storyline, good characters and as far i remember you can unlock one chapter of the character route per day (mabye two days, idk) and the mc's background has an important role in every route (she's a zombie! she's pretty now but eventually will fall apart, aaaaand her story gets expanded in one of the routes!) ((shes also adorable)) There's also a sequel, if you wanted more of the boys! never finished it but i'd recommend it

Honorable mentions! Huellitas Mágicas is a great game! has a really good cast with well fleshed arcs for all the characters, even the scondary ones! The game shines more for the development of *all* the characters rather than just the protagonist/ml. The main theme is overcoming insecurities! Each love interest has a different way of helping our (very insecure) protagonist and helping different characters with their own struggles :DD

10/10 i recommend this game if you want something cute and can be finished in a few hours, if i remember right. It also has a sequel! with like- 12 new love interests, also never finished it bc i didnt found a guide that worked for me but ñek

A3! is my canon event as a gacha player. Discovered the english/global server, tried it and got bored, left it for a few months, tried it again and fell in love, noticed the game was going to shut down bc low sales -HAHA :(-. This is not a otome btw, this is here bc Izumi has to be one of my favorite protagonists in gacha games ever

last but not least! Obey me! Shall we date? oh dear, what have they done to you :(. The original had intense powercreep to force you to pull cards -multiple times bc that makes them stronger- and even now, the company showed a lot of favoritism to some characters, leaving others to dust bc they don't make the same money. Not to say, they released a new game with the same cast and new main story (ignoring all what happend before). And let me say: THEY LITERALLY WANTED TO KILL THE ORIGINAL GAME.

Nightbringer might be a decent game but i don't trust the devs anymore, i still remember what happend with Asmo's birthday right after the release, and honestly i don't want to sit there watching how they disrespect my favorite characters again and again and again. Loved the characters hated the devs. 5/10 you can play it if you want but i don't recommend spending money on it, it's not worth it, just search #obey me here in tumblr and enjoy the amazing fanworks that i can assure you have a lot more love than the game itself

i miss my wife man (mammon and levi)

#got sting by the nostalgia mosquito #thinking about it i kinda want to play huellitas magicas again #mystic messenger #mysme #tears of themis #rosa tears of themis #ephemeral #its that the right tag? #huellitas magicas #a3 #a3! act! addict! actors! #izumi tachibana #obey me #obey me shall we date #otome game #tot

[sugar-grigri]

It's all about the number 2 

Asa and Yoru, Nayuta and Denji, two Chainsaw Man, two camps of worshippers versus detractors, two protagonists, a second part, the two identities of Denji, a high-school student and a hero himself, both demon and human: Chainsaw - Man. 

But before we balance all that, let's take a closer look at this chapter.

First of all, I'd like to say how rich chapter 140 is. I see a lot of people criticizing Fujimoto's writing as someone who simply sets up absurd situations when absolutely nothing is left to chance. We're reading a manga by a film buff, so get your head around Chekov's rifle. 

I'd like to remind you that Chainsaw Man is set in Japanese society. 

Ejecting a sect from a building, or even belonging to a cult that has nothing to do with a dominant, ancestral religion, is more common than in the West. 

I've seen plenty of people wondering who could be at the head of the church for making people believe such a stupid story as a violet-ray weapon that would make adults stupid.

When it's the other way around, the church is exploiting the fact that high-school students are just thinking too much. And if there's one thing that saves Denji, it's that he thinks less. 

Let's put things in context: this is the '90s, and even if the idea of nuclear weapons has been erased by Pochita, meaning that the Cold War has surely taken a different form in Chainsaw Man, Fujimoto has never denied geopolitical tensions. 

Whether it's the mention of the USSR with Reze, Makima's instrumentalization of Japan, the history of weapons, the fact that the American government sought to eliminate Makima or that countries share the remains of the weapon demon...

Countries are in tension. The church exploits this atmosphere of anxiety among teenagers who are beginning to form opinions that dissent from their parents. 

Adolescence means coming into conflict with your parents' ideas, so come up with a story about how a gun makes them stupid. It's simply targeted manipulation that exploits the vulnerabilities of individuals in the midst of an identity crisis. 

Becoming a teenager also means freeing oneself from a certain carefree attitude and better understanding of the world around us, hence the mention of Americans on the same level as adults. 

I'd like to point out that this is not just a collection of absurdities. But for that, a bit of history... I hope I'm not teaching anyone that Japanese society has been turned upside down by the United States.

Without going into too much detail, during the 19th century, Japan went through the Meiji era. The Meiji government pursued a policy of modernization with the ultimate aim of bringing Japan up to the level of the Western powers. 

To compete with Western powers such as the United States, the government relied on centralized power to control citizens as much as possible... and this involved reforming the matrimonial system. With the popularization of "love marriage", the Meiji government changed tactics: the polygamous system was replaced by exclusive "love marriage". 

The church used the same method of control as the Meiji government: reforming the matrimonial system by overturning institutions. From now on, it's no longer sex after marriage, but before it.

It's this kind of talk that just digs into the cracks that allows them to be brainwashed. But talk has never worked with Denji, who thinks concretely with what he can grasp. A date with a pretty girl, steak, sex, feeling the buttocks when he does the chair. What one would point to as perversity is what saves Denji. He thinks through his senses, his literal needs, not the abstract. 

We can't say that Miri, who thinks he's free when he's being instrumentalized, repeating that it's the Americans' fault again, or asking Chainsaw Man if he's sure he hasn't picked up any ultraviolet weapons... that he’s stupid. Because weapons have lost their memory, they have no loved ones, no stories to refer to. 

Miri convinces himself he's free, filling the void of his own forgotten history with false stories. The lack of education, of pillars, of history is what had tortured Denji, who was so easily manipulated. I'd go so far as to say that Reze is the most striking example of this. 

It's impossible to determine Barem's psychology, but he still demonstrates a third reaction to manipulation: while Denji evolves, Miri locks himself in denial : Barem manipulates in return. Revenge, reproductive mechanism, any number of reasons could explain why Barem exploits one of Denji's weaknesses: Asa. 

Now you're thinking, yes, that's all very well, you talk a lot... but what's that got to do with the number two?

The scale is the very image of dichotomy, of a relationship between two forces, two weights, two entities. And what does it have to do with manipulation? Several things.

First of all, manipulation also means taking on ideas that are not our own. It means no longer questioning them, confronting them with dissident ideas that would contradict them, or balancing them. 

To balance is also to confront two options in a dilemma. Something that's come up several times, first initiated by Yoshida, then taken up in his own way by Barem: embrace his identity as Chainsaw Man or continue his normal life as Denji?

The manipulation since the start of Part 2 has been to split up Chainsaw Man. To have separated what constitutes his essence: human and demonic. To have split his nature, which has always been that of two beings in one. 

And what if I told you that the answer lies in chapter 2 (yes, man). Here, Makima clearly explains to Denji that Pochita is not dead but continues to live with him, that he has two smells.

Fami's project is openly to separate Chainsaw Man, to cut its essence in two: the reunion of two beings. 

That's why this chapter talks about marriage, which refers to the reunion of two individuals. 

Barem would have us believe that these two choices are antinomic, that they are contradictory and cannot be fulfilled together. Only Denji can have both choices, he had already answered that. His sign of strength is two fingers. Two is Denji's strength. Becoming two is what literally allowed him to be reborn. 

Of course, Denji doesn't want to marry; he's already one with one being through a contract: Pochita. 

Pochita had merged with him so that he could live a normal life. It was never a normal life, but the life Denji wanted to live. Chainsaw Man is literally the means, a better life, the end. 

The secret to surviving the manipulation then lies literally in Denji's heart. 

#chainsaw man #csm #csm part 2 #csm spoilers #csm 140 #my thoughts #denji #yoru #asa #nayuta #makima #miri sugo #barem #reze

[the-catboy-minyan]

just... something I've noticed. (cw: this is about i/p and leftist activism)

so many stories are like:

villain: "there's a problem in this world that needs to be fixed, an injustice in the systems that control our life, so I shall fix it with VIOLENCE AND MURDER AND MORE VIOLENCE!"

hero: "halt, you fiend! I, a Good American Citizen™, shall stop you. scease this treachery at once!"

*proceeds to beat them up and do nothing about the issue that caused this, Happy Ending uwu everything is solved*

the purpose of these stories were propaganda, obviously, to associate fighting for justice with violence and villainy, and heroism with restoring the status quo and never questioning it.

people called bullshit, but instead of going "the source of the issue wasn't the villain, it was the system they were in. you can't just get rid of them and go about your day, you have to remove the problem from its source as well", they went "the source of the issue isn't the villain, it was the system they were in. the villain was actually completely justified in their response because of the end goal! sure their actions are bad, but the system is worse!" while completely ignoring how in most of these stories, the villains were okay with actual mass murder.

and here we are, in a post Oct. 7th world, where people look a massacre of Jews, and say the exact same thing. justifying undescribable acts of violence by saying "well these noble savages Palestinians had endured 75 years of genocide (wrong) apartheid (wrong) and ethnic cleansing (also wrong)! their response is understandable! I don't condone their violence, but something had to be done." and you get people simping for actual extremist terrorist organisations, marching around while parroting calls for genocide, and repeating words to make them sound educated on a conflict they only know about from social media posts.

yes, the systems are unfair and cruel and social justice needs to be achieved. but you can't turn a blind eye or actively condone horrific acts that are done in the name of that cause. speaking against it won't make you the "movie protagonist™", you HAVE to speak up against it if you want to work towards a peaceful future.

#antisemitism #leftist antisemitism #israel #i/p #israel palestine #am yisrael chai #stop fandomizing the war #hamas is not your blorbo #hamas is not your poor little meow meow #hamas war crimes #fuck hamas #free palestine from hamas #israel hamas war #october 7 #oct 7 #october 7 massacre

[darklinaforever]

So… The first two episodes of Percy Jackson are awesome !!!

On the other hand, it kills me, because there are already criticisms coming in and people are complaining that we are revealing the identity of Percy's father too quickly, when that is not at all the goal of the story.

That Percy killed the minotore very easily, even though it is precisely supposed to be a testimony to his great power as a demigod, especially one of the big three.

How childish it is, even though the protagonists are actually 12 years old. Like HP in the end, the story grows at the same time as the protagonists, that's… normally the goal when you follow young characters who grow over the course of the story ?

Then also, that it reflects the usual mythological clichés with Hades as a lightning thief… Lol, these people are not ready.

I feel like they can't wait until they have the overall story to judge. As if you were watching Harry Potter and directly expecting the atmosphere of the 5th books and its sequels ? This is completely stupid.

Especially when it comes to the madness with the father, that was never the main plot. Have these people even seen the trailer ? I already see critics saying that it's the Harry Potter of the poor and Harry Potter among the scoots…

Which is cheeky because, sorry, but Percy Jackson is a much better literary saga than Harry Potter in my opinion…

The number of people I've seen say that it was flat and very clearly predictable… Well, given everything that happens in 5 volumes, hats off for having managed to guess what's happening throughout the whole saga ! No, but more seriously, I'm sure that what's in their minds is light years away from everything this saga does over its 5 volumes.

#percy jackon and the olympians #percy jackson #percy jackson disney+ #disney + #percabeth #percy jackson fandom #pjo #pjo tv show #pjo tv series #pjo series #pjo show #pjotv #percy pjo #pjo fandom #rick riordan #percy jackson and the olympians fandom #harry potter #hp #harry potter fandom #hp fandom

[ask-whitepearl-and-steven]

You don't have to answer this if you don't want to, but how has your opinion changed on Steven Universe now than when it first aired? Like I have fond memories of watching the show while it was airing but now I realize that it had a lot of problems that I feel like a lot of fans either flat out ignore or bend over backwards to make sure their rose tinted glasses stay on.

... okay, fair question. Let's talk about this.

I'll try not to wax poetic too long, but there are a lot of things to be said here.

First and foremost - how has my opinion changed since the show has ended?

Simply put - it hasn't.

When I started watching Steven Universe over 7 years ago, I didn't have much knowledge of it. I sat down, saw a few of episodes and went 'well, this is a silly show for kids with a goofy but loveable protagonist... but it seems like it's also incredibly charming with its delivery and has some nice, more complex themes about loss and healing and grief throughout.'

And if you ask me what Steven Universe is now... I would probably say that exact same thing.

Am I wearing rose tinted lenses? Interesting question.

What ARE 'rose tinted lenses' in this context anyway?

What do these lenses represent? What do they obscure?

Since you didn't go into specifics, I can only assume what you're referring to when you say that many fans ignore the show's problems.

There have been many discussions surrounding various aspects of the show and how it might be read as 'problematic' (ahhh how I've come to despise that word.... without context, it has all the descriptive power of the word 'icky' - none of the critical details and all of the emotional punch of scrunching up your face like a cat that just sniffed a lemon...)

Is this about something as simple as the 'SU doesn't have a consistent size for its characters' debate?

Because that has been gone back to, over and over again, and proven to be a point of opinion. SU favored allowing storyboarders to show off their personal flourish, and even though Peridot was 30% hair in that one episode, it did not overall take away from the plotline being told, which was their goal. If you wanted to watch a show with consistent styling throughout, you can always watch a 3D modeled show, but keeping that up was simply never one of SU's main pillars. And I feel like it didn't have to be.

Is this about something more complex such as the way Rose was presented?

...and how her arc was shown backwards instead of forwards - showing first the person she became in the end, and afterwards revealing all the growth she had to have to get there?

That was on purpose! And I don't think this is a problem. It's a feature, not a bug. Rose was never meant to be an ideal character - she was meant to be complicated and messy, and I think the fact that the fandom is so split in their opinions of her shows that the Crewniverse pulled that off really well!

She fucked over Bismuth! She forced Pearl to be silent! Those are both parts of her character arc that were never resolved because she died before she could resolve it - that's BY DESIGN. Sometimes, you just do something absolutely stupid and cruel, and you cannot go back to fix it.

Is this about the Diamonds? The fact that they were not put in space jail, after being put on trial for space crimes, and then publicly executed for space eco-genocide?

Here's the thing - most people I know who watched and loved SU are fully aware of that. But simply put - Steven Universe was not a story about Revenge.

Steven Universe was a story about love. A story about family. A story about truth, and lies, and hurt, and healing. About how sometimes healing doesn't happen. And how sometimes it will, but you won't be around to see it.

But it's not a story that can be all things for all people.

That is the thesis of my reply: It is a story.

It is not a manifesto. It is not a bible. It is not a Complete Truth.

It is a single story. Made by a group of very talented people, who cared about these characters, who did their best. They made a funny, emotional, well-drawn and complex cartoon show about the things THEY personally wanted to tell stories about.

Does it answer all questions the way everyone wants them answered? No. That's impossible.

Everyone wants a different story. Everyone wants a different solution, a different resolution. A different ending.

Steven Universe is one story. It cannot satisfy all people.

So when you ask me 'has your opinion of Steven Universe changed'? The answer is 'no'.

I went in, expecting to see a story. I saw a lot of what I liked! I saw some parts which I thought were interesting. I saw some parts which, yes, I disagreed with a little.

But overall, it's a good story. And that's what I expected, and that's what I got, which means I'm pretty satisfied. I love that story.

I feel like recently, there's this expectation of media, to be Everything For All People. And it's a bit unrealistic. No one call tell the perfect story. We are all simply telling the stories we want to tell. And people will vibe with that, more or less.

A single story, made by a small group of people, will never be that for you. There will never be an Unproblematic Cartoon that you watch that will be devoid of things you disagree with.

Being critical of media doesn't mean 'Criticize the FUCK outta that media, and the one with the least criticisms is the best one'.

Critical thinking is about evaluating things critically - that means being critical of YOURSELF. Being critical of your OWN reactions. Asking 'why did I like this?' and 'why did I dislike this?'. Asking 'this doesn't mesh with me, but who WOULD it mesh with? It isn't for me, but who is it for? Who would it hurt, but also who would it help?'

Some people HATED how SU: Future ended. They beat their fists on the wall and cried about how Steven was leaving his family behind, and how THEY could never imagine doing something like that, and how he was running away from his problems just like Rose had.

Me? I loved it. I think it was the right choice, and I COULD imagine it and thought it was in character. I thought he needed to be his own person, instead of shouldering everyone else's responsibilities for once. Was one of us more right than the other? Maybe not? Maybe that was the whole point?

Loving things is not about putting on rose colored glasses. Sometimes, choosing to love something with flaws is an act of rebellion. It's about knowing you have differences, but understanding that there is value in the things you DO agree on, and knowing you can consume that.

Healthy consumption of media does not mean throwing the whole cartoon away as soon as you notice something is wrong with it, like a bruise on an apple.

Healthy consumption of media involves critical thinking AND feeding yourself. Acknowledging you may disagree with parts of it, but not starving yourself just because your apples all have small imperfections.

Eat, for fuck's sake. Feed yourself. You'll feel better.

Thassit.

#chekhov answers #steven universe

[twistedmionn]

Twisted Wonderland iceberg

Explanations ahead (slight spoiler warning)

Tier 1:

everything is self-explanatory, I think

Tier 2:

Haruhi = the protagonist of Ouran High School Host Club. She's a girl who dresses up as a boy (correct me if I'm wrong) and many players who have a female MC consider theirs to be like Haruhi. [EDIT: Thanks for the anon pointing out that I misspelled the name!]

Tier 3:

self-explanatory

Tier 4:

A fair amount of people headcanon Vil as a trans woman because he presents androgynously/feminine and doesn't care about gender roles. This has also caused discussion in the fandom because breaking gender roles ≠ trans.

Tier 5:

People sometimes wish TWST was more like a dating sim and had character/dorm routes.

Some people headcanon that Silver is based on Prince Philip (from Sleeping Beauty) and/or is a prince himself. I haven't played all of book 7 yet (only the parts out in the ENG server) so idk if the theory has been proven right.

Lilia is old and hints at dying soon.

Hot NPCs, such as Deuce's mom and Sebek's grandpa.

Ace and Deuce have expressed interest in Yuu at various points in the game.

Genshin VAs: Leona/Alhaitham, Silver/Kazuha, Idia/Razor are the ones I can think of

Tier 6:

A beastman (I think it was Jack) has stated that he has problems talking to animals, and Ruggie's talent at it is considered something special.

The tweels are considered intersex by some due to eel anatomy (I'm no eel expert).

Kalim is considered the real villain by some due to never really bothering to help Jamil.

Epel's backstory/attitude has many elements that a fair amount of trans men relate to.

There are theories that Lilia and Sebek are twisted from Peter Pan characters. I'm unsure about Silver, but I think I've read something about him being from another movie, too!

Tier 7:

Some people headcanon that Ace has experienced domestic abuse.

There's a theory that Ace will betray Yuu.

Cater has two sisters who boss him around, which is a resemblance to Cinderella.

Malleus might have two pps because well... dragon.

Epel and Deuce had a whole ass beach date. Deuce constantly cares for him and broke the school rules in order to make Epel feel better. Their scenes together (the settings) looked straight out of a shoujo manga. If Epel were a girl, this ship would be considered canon by most.

I'm not sure EXACTLY which languages Jade's VA speaks, but I do remember that he knows German.

In one of his Halloween vignettes, Ruggie — as opposed to Lilia — has indirectly expressed that he has no interest in romance/relationships.

Tier 8:

UH.

#disney twisted wonderland #twisted wonderland #twst #twst meme #twst memes #disney twst #disney #twst riddle #twst cater #twst leona #twst azul #twst jamil #twst vil #twst idia #twst malleus #twst ace #twst deuce #twst ortho #twst chenya #twst rook #twst lilia #twst jack #twst epel #twst grim #twst silver #twst jade #twst floyd #twst kalim #twst crowley #twst ruggie

[hollowtones]

first yiik impressions?

Hi. Thanks for your message. I've been thinking about this for days. I wrote paragraphs. Here you go!

Everyone talks up how the game is bad, but I've never looked into it much myself, so I went in with an expectation along the lines of "people whose opinions I often agree with think it was an awful mess, I'll likely think something similar". Expectations were low. Even then I wasn't really ready.

"YIIK" is a game of tedium. I don't think it's a game about tedium, that's something different (though it could be, if it was a different video game altogether; "what if the world was made of pudding" etc). To some degree I think the tedium is by design but I'm not really sure what it's in service of.

I don't think tedium in a video game is a bad thing. "Morrowind" and "Breath of the Wild" are two video games I like very much, and some of my favourite memories of those games are of slowly wandering through empty expanses, or having to suddenly deal with equipment degrading or supplies dwindling because I forgot to prepare. Moments like that feel thoughtful! They're interesting moments of reprieve or of tension that feel thoughtfully and intentionally designed! "YIIK" feels like trudging through chest-deep molasses so it can shout "hey did you know you're stuck in my molasses right now? that's weird, why are you stuck in my molasses right now? did you notice?" directly into your ear.

You'll notice this is a pattern.

Combat is turn-based and involves completing little minigames, timing button prompts or hitting targets or some such. It's a cute idea that wears out its welcome when you start realizing how long every single one takes to resolve, especially when you have multiple party members, and sometimes multiple enemies (I'm told this part specifically gets more egregious as the game goes on). I don't think it's awful or unsalvageable but I'm not super into it as of the point we're at.

This is a pattern.

Leveling up is a manual process that you have to unlock, and it involves going to a save point (any save point? we didn't check), to enter the Mind Dungeon, to enter the actual Mind Dungeon, to walk down a set of stairs and enter individual doors one-by-one, so that you can choose how you want to allocate stat increases, so that you can walk down a different set of stairs to commit your choices and spend your banked experience to level up. I think "you can only power up at specific points / times / locations" and the granularity of stat growth are interesting ideas, and the environment they made for it are a charming idea, and I don't think it needed to be a "Hotel Mario" level that you had to slowly walk through. It could have been a menu. They could have used the resources for a nice background or backdrop for a menu that accomplishes the same thing.

This is a pattern.

I haven't really mentioned anything about the story or writing yet. The protagonist's name is Alex and he's a very self-important nerdy misanthropic dickhead white man (a very specific kind of guy that I've definitely met at least once or twice) who is obsessed with a paranormal message board populated by people like him and desperate to find out more about the disappearance of a woman he witnessed. (The woman & her disappearance are based on the real life death of Elisa Lam & aren't handled with a whole lot of tact, IMO, but other people have put this into better words than I can right now. It sucks. It keeps coming up and it makes me bristle every time.) Alex is a bad person. I know he is. You know he is. The game knows he is. I've seen some reviews say a negative point of the game is "the main characters aren't likeable", which I don't really get, because that's the point of the characters, as far as I can tell. The issue, then, is how much time the game takes to exposit at you how bad the characters are. It's exhausting. Every time Alex has a monologue, it feels like it sums up to 10 minutes of "I am a bad person. I am a bad person. Alex is a bad person. This character is a bad person. Do you get it? He's a bad person. Alex is a bad person. Do you understand yet, player? Alex is a bad person. You should know that he's a bad person. Do you get it?"

This is a pattern.

(I don't know how interested I am in bringing up the game's lead writer right now, if at all, but there's a well-known anecdote where he talks about wanting to write a story about a bad person who is forced to grapple with himself and do better, and how the reason why his game wasn't well-received was because people who play video games didn't get it & weren't ready for a story like that. I dunno. I can understand being upset about negative reception to something you poured time and sweat into, and saying something hasty because of it. "Final Fantasy 4" is a beloved RPG classic, though, and "Disco Elysium" came out the same year to overwhelming praise. I haven't played either of these yet, though, so I'll admit maybe I'm off the mark here.)

The characters we've met so far (i.e. the ones that aren't unnamed NPCs) are… well. There's a smarmy younger kid who idolizes(?) Alex & also made the aforementioned paranormal website. So far it seems like he mostly exists to go "hey fuck you Alex, you dickhead" and immediately say something even more insensitive. There's the insensitive based-on-a-real=ass-dead-woman elevator woman, who immediately disappeared from the narrative while still being an essential part of the narrative. There was a dead(?) robot in a bedroom, who had a choir of ominous hooded people monologue about how weird and sad and strange and uncanny the scene is. What the!? There's a woman who works at the arcade and has Powers. Her design's cute. (I feel like, generally, the game's visuals are Fine. The audio, too. That all ranges from Just Fine to Surprisingly Neat. I don't really have much issue with those aspects of the game, but I don't have much to say about them either.) Alex and Kid Whose Name I Didn't Care To Remember are constantly very uncomfortable to her, because she's a woman and because she isn't white, in the 15 or so minutes we've seen her on-screen, and she gets to tell them off, but then immediately kind of goes "well whatever I can smile and put up with this and hang out with you". It feels misogynistic. I know to some degree Alex is misogynistic on purpose, because the game is bludgeoning your skull in and yelling "ALEX IS SHITTY TO WOMEN! AND PEOPLE OF COLOUR! DO YOU GET IT? HE'S SELF ABSORBED IN A SHITTY WAY! DO YOU GET IT, PLAYER? YOU UNDERSTAND THAT ALEX SUCKS ASS YET? MAYBE 10 MORE MINUTES OF THIS WILL MAKE IT CLICK?" But for a woman of colour (the only one we've seen so far who isn't Probably Just Dead) to finally tell him off for being a shithead, only to turn around and go "well it's ok, you're cool now, let's hang out now because it's narratively convenient and you're the protagonist" is pretty damn egregious!

This is a pattern.

Writing in general feels stilted and long-winded. Most of the main characters feel like they don't talk like people do. Alex gets to feel like a person but that's mostly because he gets to talk to himself so damn much. Most of his monologues feel like overly flowery prose, like someone padded it out with identical adjectives to meet a school essay word count. There's an interesting idea or premise or setpiece every now and then. There's a spark. A glint of something compelling. Every single time this has happened so far I find it immediately snuffed out by an over-blown "oh my god!!!!!!! how weird!!!!!!', or a very long plot dump, or a Joss Whedon-ass quip. There can be no small moment of joy. No story element or visual element can stand on its own legs. There can be no room for ideas to breathe. No space for the player to wonder, to dream, to play in the space. The narrative is compelled to suffocate iself on itself, to take up all space, to swallow itself whole in its making. One very minor (so far?) side character has some interesting dialogue in this one dream world, and I think "oh that's neat", and then I learn they're lines taken wholesale from a book (and I think that's fine, reference is fine, but I have a bit of a chuckle over the fact that this character is the reason why the game has a giant REFERENCES option in the main menu). The literal first minute of the game is a bird telling you "oh my god, the title of this game, right? why'd they spell it like that? so fucking dumb, am I right!" It feels insecure. It reads like the writing has no confidence in itself. It has to make a comment about how silly and video-gamey it is, roll its eyes at itself, mock itself for the thing it's doing while continuing to do it without addressing it or discussing it or doing anything with it.

This is a pattern.

There's a specific part of "YIIK", at this early point in the game (we're only around the start[?] of chapter 2), that feels emblematic of the thing as a whole up to this point. Alex is getting phone calls from a stranger. They're confusing and weird and sound a little like something you might hear in a dream. They make references to some shared past, some childhood, some understanding of Alex, or maybe of you, the player. They've come up a few times. Every single time, I'm left thinking about what it could mean, how it fits in with everything we've seen so far & what the game seems to be talking about, with regards to connecting to other people and to yourself. It's a neat little thing. It's a neat idea. I'm charmed by it. As much as my thoughts on this game are largely negative, I still try to look at it fairly, to understand it, to talk about it, to let myself be surprised by it. As soon as I find myself thinking about this, my thoughts are immediately drowned out by Alex telling me how weird the phone call is, how random and uncanny and dumb this is, and how he's rolling his proverbial eyes about it, in spite of all the other paranormal happenings around him, for another period of Just Too Long. And I am sapped of all strength and I crumble to dust.

I'm genuinely transfixed. I'm transfixed! Maybe the fact that I wrote Paragraphs about the 4-or-5 hours I've seen of the game can tell you as much, even if you skip everything I wrote in them.

I can't wait to see more.

This, too, is a pattern.

[elexuscal]

Danny Phantom ghost things i'd want in a hypothetical reboot

so like the rest of the fandom, i've had my own ideas for cool ways Danny's ghost powers could operate fermenting for over a decade. not all of these are wholly original-- i'm sure they've been influenced by a bunch of other fanworks over the years. but while it'll (probably) never happen, i'd love to see them depicted in shiny, professional animation

ghosts are ideas, manifested. their appearance and powers are all directly linked to the shape and powers of that idea.

when Danny first turned, his 'ghost form' was barely anything at all. wispy, insubstantial. he was still weak from his [near] death experience, confused and scared, and these moments where he's apparently lose all visibility and corporeality were as confusing as they were terrifying, creating an awful negative feedback loop

Gradually, as Danny came to understand and anticipate these ghostly transformations, his form solidified. by the time the show starts, his ghost form is basically identical to his normal human form, just with the expected palette swap

Danny starts to realise his body is malleable in that form, and experiments a bit. mostly with realising he turn his legs into a wispy tail to go faster, or maybe changing his body for a goof

but there are subtler, gradual changes.

as Danny becomes more confident with his Phantom persona, as it becomes a genuine alter-ego, Phantom's appearance changes.

Phantom's a little taller. A little more muscular. His jaw a little more chiseled. His hair goes from "mundane dishevelment" to "anime protagonist spikiness".

yes, this goes great with transguy!Danny, thanks

these changes are gradual, maybe a single tweak to the character design per episode. enough that by episode 13 or so, if you were to put images of Fenton and Phantom side-by-side, you'd realise they were no longer just palette swaps

unfortunately, there are downsides to this ghostly nature

Danny's ghost form (and sometimes even his human form) is directly linked to his mental state.

if Danny's insecure? Phantom can become weak and insubstantial. Scared? Small and childlike. And if he's angry? Well...

Twisted claws for fingers, teeth contorting into fangs, strange waving tentacles emanating from his body...

Maybe there's a reason people don't recognise Phantom as human. Let alone as that Fenton kid from down the street.

sometimes, though. someone swears they'll see Danny Fenton's eyes flash green in the darkness. just for a moment.

being a ghost isn't just cool super powers. have it be, in a very real way, eldritch.

#danny phantom #trans danny phantom

[thebibliosphere]

Hi! How are you doing? Sorry to bother you, but i dont know many scottish people and idk who to talk to about this book I found on audible. It's called Imogène, by french author Charles Exbrayat. Do you know him /the book? I've started reading it but I had to pause because, while being sold as a "humorous spy story" I find the protagonist, a "very proudly scottish" woman, to be... an offensive caricature? Like she acts like a fool, honestly. This book contains some interesting points about sexism (it was published in 1959), and ridiculous british habits (such as employees forced to give money for princess anna's birthday or being socially scorned). I'm sure the shared dislike / distrust the protagonist and her british colleagues feel are (were?) realistic. But she is so extra, and the story keeps telling how lonely she is, even after working 20 years in london. She has No friends, most acquitances dont talk to her for various motivations, her bosses hates her ... idk I feel this book is actually mocking scottish people? Or scottish women??? I was SO there for a "strong woman protagonist who gives cutting remarks to her boss or peers", but this looks wrong. Idk. I didnt know whom ask for inputs. Maybe i'm reading too much into it. Feel free to ignore this mega rant. Have a good day!

I think cultural and historical context and time of publication-- which was almost 70 years ago --are important factors to take into consideration when we look at fiction through our current expectations.

I can’t speak to the book as I’ve never read it, but speaking as a Scots woman who worked for an English publishing house for a while, being made to feel alienated by my boss and others due to being Scottish was unfortunately still something going on in 2011.

I’d get lots of “Oh but you sound so eloquent” remarks regarding my thinned-out accent (something I did on purpose to avoid being told to “speak properly” which was also something I heard a lot in school if I ever used my native Scots language instead of “Queen’s English.”) and one time my boss referred to me as “their civilized Scot” to an American author, whose Scottish romance book I was supposed to be fixing the dialogue on.

The phrasing was along the lines of, “Don’t worry, you’ll be able to understand her. Joy is our civilized Scot.”

The author laughed and made another derogatory comment about how they just loved Scottish accents even if it was unintelligible a lot of the time. I kept my mouth shut because I didn't want to lose my first career job.

I kept my mouth shut a lot in that job.

In that regard I could very well empathize with the character being lonely and not engaging with anyone, even after 20 years.

The proud Scottish woman can be a bit of a caricature, but that doesn't necessarily mean it is intended as mocking.

Again, cultural/historical context matters.

I wasn’t alive in 1959, but I know there was a lot of Scottish media about the time that leaned into the stubbornness and pride of Scots women both for humor and to make societal commentary on the fact that women were strong and more independent than they’d ever been following two world two and a lot of men weren’t happy about it and wanted them to go back into their boxes. As a result the mouthy, proud Scots woman became a mockable caricature that turned women into shrill, over proud scolds.

Get back in your box or we’ll make fun of you, basically.

So is this book being mocking, or is it employing popular tropes of the time, knowing that audience will understand what it means and that the female protagonist is being subversive despite what others expect from her?

I can’t say. Again, haven’t read it. It could be utter dogshit and making total fun of my culture. But I do think when looking at older media we need to put our thinking caps on and think, “How would the audience of the time, 1959, have viewed and engaged with this?”

Expecting a “strong female protagonist” as we know it from media today isn’t going to work with media that’s almost 70 years old.

Hell, the “strong woman protagonist” wasn’t even something any piece of media could agree on when I was growing up in the 90s.

Times change. Literary tropes and preferences change. It helps to keep that in mind.