#So what would I have to say about it in a narrative?

[prokopetz]

Honestly it's weird that roleplaying as we know it evolved from historical wargaming.

Like for example DBA rules contain some suggestions for running campaigns with narrative and "propaganda" so I wouldn't say that it's something incompatible, and 0E looks way more like wargames than say PbtA games do, but storytelling games were a feature of artistic salons for way longer and they appear much closer to roleplaying than rulesets for reenacting ancient battles on tabletop.

Salon games didn't have skill checks but neither did wargames and it's strange that nobody came up with simplistic skill checks to add uncertainty and realism to the game

I think the line is a lot clearer when the role of dice and rules in tabletop roleplaying games is correctly understood.

"Uncertainty" and "realism" are, at best, secondary to what the dice are actually doing. Even most tabletop RPGs get it wrong when they try to explain themselves – they'll talk about the rules as something to fall back on to prevent schoolyard arguments (i.e., "yes I did!/no you didn't!") from derailing the story, when in fact it's the exact opposite.

If we look at freeform roleplaying as an illustrative parallel, we see that, while newly formed groups may in fact fall to bickering when a consensus can't be reached about what ought to happen next, mature and well-established groups tend instead to fall prey to excessive consensus-seeking: the impulse to always find an outcome that isn't necessarily one which everybody at the table can be happy with, but at the very least one which everybody at the table can agree is reasonable – and that's a lot more constraining than one might think.

In this sense, the role of picking up the dice isn't to build consensus, but to break it – to allow for the possibility of outcomes which nobody at the table wanted or expected. It's the "well, this is happening now" factor that prevents the table's dynamic from ossifying into endless consensus-seeking about what reasonably ought to happen next.

Looking to the history of wargames, this is precisely the innovation they bring to the table. Early historical wargames tended to be diceless affairs which decided outcomes by deferring to the judgment of a referee or other subject matter expert, but the use of randomisers increasingly came to be favoured because referees would tend to favour the most reasonable course, precluding upsets and rendering the outcomes of entire battles a foregone conclusion. This goes all the way back to the roots of tabletop wargaming – people were literally having "rules versus rulings" arguments two hundred years ago!

(This isn't the only facet of tabletop roleplaying culture which has its roots in wargaming culure, of course. For example, you can draw a direct line from the preoccupation of early tabletop RPGs with punishing the use of out-of-character knowledge to historical wargaming's gentleperson's agreement to refrain from making decisions based on information that one's side's commanders couldn't possibly have possessed when re-creating historical battles.)

To be clear, I don't necessarily disagree that salon games could have yielded something like modern tabletop RPGs. However, first they'd have had to arrive at the paired insights that a. excessive consensus-seeking is poison to building an interesting narrative; and b. randomisers can be used to force the breaking of consensus, and historical wargames had a substantial head start because they'd figured all that out a century earlier.

#gaming #tabletop roleplaying #tabletop rpgs #game design #history

[buckttommy]

If there would be a tommy begins episode, what would you like to see?

I have waited... my entire life for this moment.

Sorry, I'm about to answer this question in the most Jack way possible. Strap in, I'm about to enter my director era. Okay, let's get to it.

Tommy Begins (Jack's Version)

Opening scene: We see a kid (8yo) playing with Legos on his bedroom floor. His room is very much so a boy's room—there are dinosaurs and dragons and a soccer ball in the corner—but it's very sparse. This family is not wealthy by any stretch of the imagination. He's building a car, and beyond his closed bedroom door, you can hear muffled shouting. It's his mom and dad. The boy stops playing with his toys and listens as a door slams downstairs (his mom leaving) and heavy footsteps come up the stairs. He's already scooting backwards when the door opens and his father stands in the doorway. He's visibly drunk, and the camera is angled at Tommy's height so that the man in the doorway looks scary and imposing. (We're really leaning into the visuals here). So his dad looks at him and says, "Tommy, were you eavesdropping?" He wasn't, of course, but it doesn't matter because his dad is already undoing his belt (to beat him, not for anything else!!). Little Tommy continues to scoot backwards as his father comes into the room, and closes the door behind him. Before the door closes and the light from the hallway is shut out, we get a shot of the man's shirt—his father is an auto mechanic and the name Kinard is stitched into his clothing.

Similar to 5x17, where Jonah is introduced as a random little boy before the narrative makes the connection as to who he really is, this is the point where the audience realizes, oh, this isn't just any Tommy, this is our Tommy. And he's about to get his ass beaten.

Oh shit.

And then the 9-1-1 title card appears.

Now, all the begins episodes parallel past with present, so in my head, Tommy is off-work. Buck is moving in that day (this isn't a Buck/Tommy focused episode at all, but Buck is the vehicle for this episode to happen) and Tommy needs to finish going through his stuff to make room for him. He comes across a large box in the back of his closet that's stuffed with all his random keepsakes. He reaches into the box and pulls out a small Rubik's cube on a keychain.

The next scene flashes back to the past. We see Tommy as a teenager, getting into trouble with his idiot friends. They're all high as kites, and one of his friends overdoses on [drug]. He notices—he's the only one that notices, actually—and tells one of his other friends to call 9-1-1. They don't because they're kids, there are drugs involved, and they're stupid, so Tommy calls 9-1-1. He follows the operator's instructions and stays on the line until the paramedics get there. He accompanies his friend to the hospital and someone—a cop who is familiar with him, from having plucked him out of trouble a handful of times—waits with him. He tosses Tommy a Rubik's cube (the same one from the box) so that he can keep his mind occupied. His friend is okay, but the cop is like, "Listen, kid. One day, that's going to be you and one day, it's not going to turn out so well. You've got to straighten up or end up dead." Basically, the whole thing is kind of a wake up call. Before the scene changes, we see Tommy look up and look toward a container of pamphlets on the hospital wall. One of the pamphlets has a soldier on it. In his hand, the Rubik's cube has been completed.

In the present, Tommy continues going through his belongings. This is a dense episode, so we're not going to linger too much on what's happening in the present because it's secondary to what's going on in the past, but Buck and Tommy are texting. Buck is excited and has no idea the turmoil that is going on in his boyfriend's head. Tommy matches his enthusiasm (and it's genuine) but also takes a lot of effort at the moment. Still he smiles a little before he puts the phone down and continues digging through the box. Next, he withdraws his dog tags (and if it isn't obvious by now, the items in the box parallel with the next flashback because these are memories that are actively being triggered while the audience watches).

So, the next scene is obviously back to Tommy's time in the Army. Now, ideally, this would be a ninety-minute episode and I'd have the time to explore all the layers of Tommy's time in the service, but, alas, the boundaries of network television. In my head, most of Tommy's trauma comes from his childhood rather than his time in the Army anyway (which isn't to say it doesn't exist, just that it's not at the forefront of his issues) so we're going to have to gloss over that a bit. When we see him again, he's already in the Army, already well into his career, and the audience can see that he's shaped up and matured quite well. He's well-liked and good at what he does.

He's doing repairs on a helicopter when his CO approaches him and asks where he's going and what he's going to do after he's discharged. Tommy looks across the [hangar] and the camera pans to a a young man. He's in his 20s. Handsome in a boyish way. He's already looking at Tommy, but he looks sad and guilty and hesitant. They meet each others eyes and stare just a bit too long to be casual, and there is a lot of unspoken feeling between the two of them. Their relationship, such as it was during the DADT era, is heavily implied and it does not have a happy ending. Tommy looks back at his CO and says he's headed back home to Los Angeles. As for the rest, he doesn't know what he'll do after he leaves, but he'll figure it out as it comes to him. When he looks up at the guy, he's already gone. It's kind of a metaphor for the way the things he wants always seem to slip away.

In the present, Tommy is still going through his stuff. He unearths an old Academy shirt, so the next scene is his first day at the 118.

Tommy doesn't know it yet, but this is the first day of the rest of his life. Immediately, seeing those walls and doors fills the viewer with a sense of peace. Finally he's where he's supposed to be. He learns on his first day what type of boys club the 118 is under Gerrard. He's visibly uncomfortable (visibly to the viewer, who knows him well enough by now to read his face, but not to the old guard) the first time someone makes a homophobic joke. But he laughs and joins in, aware of but refusing to acknowledge the fact that they are making jokes at his expense. Just like that, he's accepted.

We see him assimilate quickly; the 118 goes on several calls. Not necessarily a montage, but we don't linger on the calls either except for a big fire. He saves Sal DeLuca and is rewarded with lots of accolades and praise. Tommy is one of the "in-crowd" and things are going well. But then Chimney shows up and Hen shows up shortly after. We all know how this plays in canon, so we don't linger too long on the times when Tommy is a dickhead but we do understand, from his perspective, that he has disdain for Hen and Chim—not because he's racist but because their existences threaten to dismantle this bubble of safety he's built around himself at the 118. The goal isn't to make the audience dismiss his complicity, but rather make them understand why he made the choices he made.

Because I am self-indulgent, there is one additional scene right before Tommy leaves for Harbor, where he and Hen are sitting in the locker room. She asks if he's going to miss it. He says he doesn't know, then he pauses and says "Kind of." There are lots of mixed feelings here. He suffocated himself in the closet within these walls and became someone he did not recognize, someone who went along with things rather than fight against the status quo, but he also learned how to breathe and exist a little freely once Gerrard left and Bobby took his place. He got his first taste of what it looks like to be Queer and proud within these walls, and that means something to him.

He looks at Hen and there are so many things he'd like to say to her that he doesn't know how to articulate, mostly because he cannot yet articulate them to himself. He's getting to that point but he's not there yet, so when she asks why he's looking at her like that, he just says "Thank you." "For what?" "For showing me another way." (This, of course, has a double meaning: first, referencing the idea that Hen/Chim showed him another way to be a firefighter, to be a family, to be a human being, and second, referencing the fact that Hen showed him another way to be Queer—showed him that Queerness doesn't have to be filled with self-hatred and pain. It can just... be... and people can either accept it, or they don't). Hen gets the sense that there's a lot he's not saying, a lot under the surface that she's not privy to, but she says "You're welcome."

The next scene is Tommy at Harbor, and the moment he gets there, the viewer can see a weight slip off his shoulders. He's back where he belongs—back with the mechanics, back with the big toys that make him feel at ease. It's a direct parallel to Buck's first meeting with the 118 (not for any Buck/Tommy purposes, just because I love a good narrative parallel) where Bobby pranks him. But Tommy smiles when they bust his balls, and settles into himself, and the viewer can see that he's okay. Things might not be perfect—he might not be perfect—but he's on the right track to being the person the audience will know and love in a few short seasons.

Back in the present, Tommy is pulled out of his walk down memory lane by the sound of his front door opening. Buck is standing on the other side with an overly large box in his hands. Tommy helps him carry it in, and offers to get the rest of his stuff from the Jeep, but Buck waves him off. He studies his face for a long moment, and asks if Tommy is alright. Tommy opens his mouth to answer and discovers, almost shockingly, that he is. He is alright. Maybe he wasn't a couple minutes ago. Maybe those items from the past dredged up memories that were best left forgotten. But he's here now, in this moment with his boyfriend, and he's fine. He's survived a lot. He's grown a lot. He's happy. So he smiles and he says yes, yes he's alright, and he kisses Buck, who also smiles, deeply. The doors close, implying sexytimes and Tommy closing the door on all the chapters of his life that have led him to this place, where he's now ready to embrace and walk into his future.

aaaaand SCENE :) the end.

#I had WAY too much fun with this #Oh my god. #TIM GET ME IN THE WRITING ROOM QUICK!!!!!!!!!! #tommy kinard #tv: 911 #bucktommy #(but only slightly)

[stagefoureddiediaz]

Thinking thoughts about Abuela being back and with this backstory about her being taken in by charlatans and Eddies whole catholic guilt thing and how the two things kind of play into one another as an exploration of faith and being taken in by something.

Abuela giving all her money to the tarot card readers etc because she was searching for something - for connection (with Abuelo) - trying to recapture what she had lost, and How Eddie has spoken about trying to re-find the magic he had with Shannon - how Eddie hasn't actually fully reconciled the Shannon of it all when it comes to relationships and how his Catholic guilt connects into that.

How Marisol as a physical representation of Catholicism is part of that narrative - how Eddie is entering a place where he has to chose his path - in order to move on from Shannon he needs to fully square the hole - catholic or non catholic. And how that needs to happen first - before he can begin his queer journey!

#this is so incoherant #I'm also thinking about how Marisol fits into this narrative and how this idea of being taken in or fooled by a person plays into what we #know of her - how she wasn't upfront with Eddie (not saying she had to be right from the off but before moving in!!!) - how she is kind of #representative of secrets - especially around faith and ones connection with faith because she is essentially a stand in for catholicism #which (sorry to all the catholics out there) peddles in magic and secrets in order to keep the mystery of faith alive and therefore keep #people believing. How Eddie's reckoning with himself and the ghost of Shannon ultimately means choosing either to follow the path of #catholicism or non catholicism #How Marisol is a tie to religion and therefore his reasons for not having successful relationships after her (or even with her) and how #Eddie letting go will ultimately mean letting go of Marisol - how he can never fully move forward while catholicism still lingers #how I don't' think we'll be seeing the queer aspect of this narrative this season - that dealing with this first part is key and only once #he has figured it out can he then be free to know himself - is true self better - and accept and move into his full self as a queer man #so yeah - catholic guilt arc 7b and 8a - as its really a two parter - finally dealing with the remnants of Shannon - and its connection wit #his faith and then when truly free of that exploring his queerness! #So yeah - Marisol will possibly be here until towards the end of the season because she is meant to be the trigger point for Eddie in #relation to Shannon - its why they made the difference (and similarities) between S and M very obvious in 7x01 #they have the time to build this story arc more fully now with the s8 renewal - to do it justice and unfortunately as part of that it means #she'll probably be around longer than any of us would like! #I don't know if I even make sense at this point #but I do want to reitterate that the show is goig out of its way to contrast her with Buck as well #to really show how close and right for each other Buck and Eddie are so no one needs to panic - she's here for the narrative not forever! #911 abc #911 spoilers #eddie diaz

[elrxiel]

"Bonus chapter ended Elriel!"

But here's the thing - it didn't have to.

If SJM had a change of heart during writing ACOSF or even before and decided that Gwyn and Az will be the final couple, she could have easily simply ignored writing anything about Azriel's feelings towards Elain. She could have not written about stolen glances - she could have written a scene where they have a conversation without any subtext, just a friendly encounter so the readers would get a clear sign - they are just friends, they are not interested in each other in any way. She could have switched the narrative - making Az behave towards any other character the way he behaves with Elain and making Elain not care, not look at him, not practically dying for him to kiss her.

But she did not.

Instead she wrote paragraphs saying Azriel cannot stand the smell of the mating bond between Elain and Lucien (which is alarming on its own, given the fact that he should not be able to smell it in the first place), that this man spent the last year almost sleepless because he keeps thinking about that girl and the gift she picked for him. She wrote Azriel questioning the Cauldron itself and Elain willing to risk it all even tho her mate was sleeping upstairs. SJM said directly with all of these "look, those two WANT each other, those scenes in previous books DID indicate that there is a mutual wanting between them".

Place yourself as an author for a second - would you really spend three books placing hints and scenes foreshadowing a couple only to "end" them in the bonus chapter, which most of the readers won't even know exist? Would you, knowing that you plan for other couples to be an endgame, wrote about things that literally point that those two characters are so into each other they don't give a single fuck about bonds and religion? Would you write another male guessing something only a mate should be able to guess, the same male being the only one noticing the woman is missing and going on a suicidal mission to get her back? Would you write "you came for me"? Would you write a full scene of this woman emerging from the shadows (the literal power of said male), using the blade he let touching only her? Would you write her buying gifts for him but not for any other man?

And finally, if you plan to make those two end up with different characters anyway, would you really write them like that? Az being the person pining for someone for 500 years and being the one knowing for ignoring orders, only to slowly develop feelings towards someone else who wants him back, would suddenly forget about it and move to a new girl in a heartbeat just because somebody said so? Elain being the person who stated blankly "I don't want him" indicating to her mate, being someone who shall wed for love, suddenly deciding "yes, you know what, I don't want this man who showed me nothing but kindness and who was the only one who actually saw and listened, who saved my life and then gave me a weapon to defend myself, I'm gonna be with my mate now, even tho I'm shrinking with discomfort whenever I'm near him". Even if it fits your fantasies, it does not fit the way characters were written. And at the end of the day, it's not the fantasies that matter. It's what has been written and given us to read and see ourselves.

#elriel #pro elriel #azriel x elain #anti e/lucien #anti g/wynriel

[sophsicle]

Soph I love you but Taylor Swift does not “make herself the victim” there’s so much valid shit that has happened to her for us to feel that way about her, which most of her fans honestly don’t even see her as - granted there as some obnoxious ones but that goes for all fandoms.

Like for example of the experiences I was talking about.

- being sexually assaulted and then being called “greedy” for suing the guy.

- being painted as a “snake” because she didn’t react well to someone writing a misogynistic song about it. Which I feel like is a valid reaction as a woman in entertainment.

- being groomed at 19 by a 30+ something year old.

- getting called a snake worldwide for a narrative that 2 people - who were more famous than her at the time invented.

- being bodyshamed constantly when she had an eating disorder

Yes she’s privileged and has always been, coming from money and having fame, but she does not portray herself as the “victim” and the fact that people think she does just for standing up for herself makes me sad, not because of her but because being a woman myself it just paints the picture that women’s pain or experiences will always be brushed under the rug because we’re classified as “dramatic” and “we should take it with more grace” “be thankful about the good things” like??

I understand that you don’t like her but that assessment just seems wrong.

like i just. you realize you're proving my point right? like this - not just this message, but all of the ones i've gotten where people are waxing poetic about all of the struggles taylor swift has had and how she is absolutely a victim and how dare i suggest otherwise - is exactly what i'm talking about. you feel the need to jump down the throat of anyone who says anything remotely negative about her. this is the whole "victim" narrative, that she is vulnerable and must be protected and defended from all negativity at all times at all costs.

and like. that is on purpose. she has cultivated that narrative for this reason. so that publications are now afraid to post reviews of her albums with bylines because their journalists are getting death threats if they criticize her.

i am not suggesting that taylor swift has never had anything bad ever happen to her. that would be insane. i am trying to say that this culture that has been cultivated within her fanbase of defending and protecting her, is extreme and irrational. and when you don't buy into it, it makes a lot of the content surrounding taylor swift very hard to swallow.

#this is pointless #i know that #you can be devoted to her if you want to be i really don't care #but i will once again point out that i made a very mild negative statement about her #and i now have an inbox full of messages like this #and can you perhaps see how that is #an overreaction to me making a post on my blog #not tweeting at taylor swift #not yelling at her on the street #not starting a campaign against her #surely if yall can make posts about how much you love her i can do the opposite #and again #this is pointless there are so many more important things to discuss and fight about #i swear to god i did not mean to post that post because i knew it would inevitably lead here #but i made the choice to leave it up so this is my penance #soph rambles

[third-generation-female-warrior]

As we get closer to the finale of the Bad Batch, I'd like to post something that's been in my head for a while.

I want to take an in-dept look at the theme of the show and how I think that shapes the ending.

Firstly, we'll need to look at the theme of the show.

The Bad Batch is a story about a group of rogue clones who must survive the rise of the Empire. Okay, that's what happens, but that's not the theme.

The theme is what the story is about. The lesson you want your audience to walk away with. It is the singular thing that shapes the character arcs and choices, from the protagonists to the antagonists.

I would argue that the theme of the Bad Batch is, "Our strength comes from our individuality and differences" and "We need to make our own choices and let people make their own choices; blind allegiance is the downfall of us all." There's also an ongoing argument about loyalty, but that's a different rant.

From the beginning, it's all been about individuality, and how stripping that away is wrong. The inhibitor chips was the first overarching plot device to further this argument.

The chips take away the individuality of the clones by making them a part of a monolithic hivemind. Gone are the individuals who fought with the Jedi, and in came the Empire. The sterile, uniform Empire where individuality and free thought is treated as dangerous and treacherous.

Our heroes, the titular Bad Batch, retain their individuality and differences and disobedient streak and are celebrated as a virtue, and, for the most part, do not fall into the trappings of becoming the monolith.

Now let's talk about Crosshair, specifically.

Crosshair, however different, fell into the Empire, thinking he was going to be heralded as better and superior than the other clones. His choice to stay with the Empire was a choice at first, but even when it was, this was treated as bad in the narration. Even if it was his choice, he came to ultimate realization that... no, he's not different than the other clones in the eyes of the Empire. He's not treated different or better. He's a number. He's cannon fodder. His blind allegiance almost led to his death (not for the first time (Bracca, anyone?)). It led to Mayday's death as they both realized too late: "We were good soldiers. We followed orders. And for what?"

So the first choice Crosshair makes for himself? The first free choice that he makes that contradicts the blind allegiance?

He shoots the Lieutenant.

And it was great! Narratively, it was treated as the right move because it was!

Okay, it lands him in Tantiss, but through that series of events, it eventually brought him back to his family. He was redeemed.

Moving on, let's look at another interesting character.

Emerie (beloved)

Dr. Emerie Karr, I would argue, is a woman who never had a choice.

I mean, how could she? Shipped off of Kamino, into the clutches of Hemlock?

Look me in the eyes and tell me that you think Hemlock (derogatory) was an affectionate father-figure to Emerie. Yeah, that's what I thought.

Emerie never had a choice. She was not in the battlefield or even with other clones to learn what her free thoughts were. I would argue she was raised to be afraid of the consequences of what Hemlock would do to her if she stepped "out of line" wherever that was when growing up.

She's constantly warning other clones what happens if they don't cooperate with Hemlock. She's constantly held back by her inability to think for herself.

Until Omega.

Time and time again, Emerie regards Omega as her sister in what way she can, in what little vocabulary she has for such a meaning.

Because Omega, Emerie breaks protocol, just in the little way she can, and returns the straw Lula to her. We see the beginnings of the Imperial bonds start to loosen. It's the first crack in the mirror, so to say, when Omega shows her what it could really be like, to have siblings to love, instead of whatever validation she fights to earn from Hemlock. (There's more on that, but again, another rant, another time.)

It keeps going for Emerie, when she's let into the Vault, all coming to a head when she meets Echo.

"I didn't have a choice," she says. "I've heard that before," he retorts, disbelieving.

She has a choice now, is what's not being said. Do the right thing, make a choice, for once in your life. Don't go along with what the doctor wants.

.

So, what's all this to say?

The ending of the Bad Batch will be dictated by the themes of individuality and free will.

It will all come down to a choice.

Omega, the protagonist, will have to make a choice.

Over this season, in Point of No Return especially, Omega sees how relentlessly the Empire hunts for her. Willing to do anything to get there hands on her.

It's this injustice that makes her angry. She can not let people suffer for her sake.

She won't let her brothers get hurt for her sake.

This drives home the foreshadowing of The Harbinger.

How Ventress warns Crosshair and Hunter, that if Omega was Force-Sensitive, she'd need to leave them to be properly trained.

When Ventress tamed a giant beast with the Force.

I know I'm not alone when I say that I think this will work with Omega's recent discovery of the Zillo Beast, in foreshadowing her and the other kids in the Vault using the Force to "reach out" (which Omega couldn't do with the distraction of her brothers) and tame the beast into wrecking the base and eating Hemlock.

With this discovery of abilities, and newfound charge over these young kids, Omega will be faced with a choice.

Stay with the Batch, or leave for them?

#the bad batch #tbb #tbb s3 #tbb s3 predictions #tbb meta #tbb omega #omega bad batch #tbb crosshair #bad batch crosshair #emerie karr #tbb emerie

[jesncin]

I really hope this doesn’t come across as rude, but why did you decide to make Lex Luthor, whose motivation is basically racism and xenophobia from my understanding, a person of color? This isn’t like, a criticism, more just, I really like your JL remix stuff and you usually have cool reasons for the stuff you change, so I was surprised by this one

I understand the curiosity! But I have to point out that "you usually have cool reasons for the stuff you change, so I was surprised by this one" made me laugh, haha. Long answer coming because I have a lot of feelings- but the point in the very end is worth it, trust me.

So for one, Lex is Afro-Greek in my version. This comes from the popular headcanon that STAS/DCAU Lex is Black (and his design is based on a Greek man). His character design, skin tone, and Clancy Brown's enigmatic performance became unintentional perceived representation for Black fans (and even DC writers). And now in the Harley Quinn show, that's become canonized! For why they like it, that's not my place to say as a non-Black person- so I listen!

I don't agree that Lex's motivation is "basically racism and xenophobia"- his themes are much broader than that. It's the desire to be the Man of Tomorrow, his jealousy of Superman, the way his intellect alone is a match against Superman's strength. Sometimes that jealousy is expressed through bigotry, but it's all a means to an end for Lex. My approach is: if Lex being Black is something we want to integrate more into his character, what opportunities does that open up narratively? Because there's rich potential for him and the characters connected to him.

When discussing MAWS I talk a lot about how when you're writing a bigoted marginalized character, there needs to be specifity with where that internalized bigotry is coming from. So a change like that for Lex Luthor could, for example; discuss how privileges like wealth can assimilate otherwise marginalized people into the kind of power that harms others in their community.

The ripple affect this has on a character like Superboy/Conner is that we get to see how -even though they're both Luthors- Conner is profiled, othered and further marginalized as a Kryptonian and a Black homeless teen because he doesn't get to benefit from any of Lex's privileges. This is just part of the many reasons why I think Conner would be infinitely more interesting if he didn't look like Kal El despite being a clone. You get to see a new intersection of how the Kryptonian identity intersects with Blackness on Earth. The potential ripple effect for a character like Lena is also really fun! What if she's struggling with her own model minority pressure when she's making up for her brother's crimes? It's all very compelling!

And MOST importantly, in a 3 trillion IQ Lex Luthor-style move-making Lex Luthor Black means that some version of Matt Fraction & Steve Lieber's Superman's Pal Jimmy Olsen arc exists in my au. Which famously hinges on the twist that LEX LUTHOR AND JIMMY OLSEN ARE DISTANTLY RELATED. THEREFORE!!! We have now found a convoluted way to have Wacky Renaissance Artist Jimmy Olsen connected to The Manifestation Of Black Excellence Evil Edition Lex Luthor in this au.

#askjesncin #jesncin dc meta #lex luthor #remember how in Crazy Rich Asians the inspiring moral was “u can transcend racism with ungodly wealth” #when that should be dystopian actually #also Lex being Black isn't “marginalized evil person” trope when he isn't the sole Black person in the Supers cast #the weight of representation isn't placed on one character- so why not have some evil ones for a variety of reasons

[acourtofthought]

Would you still consider it a celebration if Gwynriel’s book is next, bc it at least confirms endgame couples?

I will be very happy for Gwynriels and very relieved that it will help lessen the ship wars though I think I'll still feel disappointed.

I want Elucien to happen but I also adore Elain and Lucien as individuals so an Elucien confirmation isn't the entirety of what I want for them.

Az and Gwyn absolutely deserve a HEA and their own healing arcs but there is something to be said for the fact that right now, they are surrounded by love even without a relationship. Yes, they have their own internal struggles but they have a really strong support system, people that have their backs, that encourage them, that believe in them. Az and Gwyn both have their found families but neither Elain or Lucien do.

Elain and Lucien are regularly pushed to the side in favor of the other characters. I understand why that is, SJM has to stay on course with the narrative that they still need to find the court where they'll thrive, but in the meantime that has resulted in them being misunderstood by the others. It results in others speaking for them, the others not encouraging them or helping them find their powers. Hell, Feyre has known about Lucien's real father since ACOWAR and it's almost two years later yet she's still letting him wander around aimlessly thinking he has no place to go.

A Gwynriel book being next means we're going to have yet another book of Elain floating around the River House with no real purpose. Lucien drifting between Spring and the Human Lands while Tamlin remains depressed which means Lucien will feel the effects of that. Elain again not having the chance to have a POV on how she's feeling about the loss of her father, being made, Graysen's rejection, Az's rejection, how Nesta and Az believe she shouldn't be allowed to do anything dangerous. If a Gwynriel book takes 6-9 months, that means nearly three years will have passed from when Elain will have been forced into the Cauldron, given powers from the Cauldron that she still hasn't fully explored and hasn't been given help on training, a confirmed mating bond that remains unaccepted and unrejected, and we will have never had a single person actually ask her how she feels about any of that outside of Feyre's "you couldn't say a single word to him?"

I will be happy for Gwynriels but how can I personally be super excited when that means my two favorite characters will once again suffer for another 6-9 months without having the same support system in place that Az and Gwyn already do?

Gwyn and Az might not have romance yet but they are respected and loved by their friends and we've witnessed that on page. Meaningful moments, moments where their found family have gotten personal with them and asked them to get personal in response (though Az is kind of terrible in that area, we've seen Cassian and Rhys at least try).

Lucien has "friends" in Vassa and Jurian but we've never actually seen that connection, we're just told it's there so we have to assume it is.

And when he tried to open up to Feyre, she made fun of him.

Elain has "friends" with the wraiths but again, we're just told about it rather than witnessing moments that make us actually feel it. And yes, her sisters love her but they don't try to connect with her (Feyre only thinks of her as a pleasant companion).

And the IC, while friendly enough with Lucien, don't necessarily embrace him with any kind of true respect. There's always this underlying current of "can we trust him?", "what can he do for us?" And of course we know Az has issues with him.

The need to prove that both Elain and Lucien belong somewhere other than where they currently is starting to feel a tiny bit overdone to the point that it's a bit cruel, and while that to me would be a perfect time to end their suffering, I can only imagine what another book of that would look like.

#pro elucien #elucien #elain archeron #lucien vanserra

[tobiasdrake]

You previously anaylzed Yamcha's fighting style and the flaws he doesn't overcome. Do you have any thoughts on how Krillin fights?

Krillin's fighting style is one of my favorites, to be honest. He's a dedicated pragmatist, ready and willing to do whatever it takes to win. His techniques and strategies are deceptive and tricksy, always on the lookout for a way to circumvent the straight fight.

Krillin's fighting style is all about cutting the knot. It's just a shame that, Dragon Ball being what it is, his methods run counter to its central philosophies and so he is doomed to constant failure.

We get our first glimpse of the kind of fighter Krillin is going to be when he defeats Goku in the rock hunt on the first day of their training.

He first tries to win the competition by forging a counterfeit rock. But when the Muten-Roshi sees through that, he instead uses his counterfeit to fake out Goku and steal the real rock for himself.

He's narratively punished for this victory when his reward dinner poisons him via badly prepared pufferfish. But we see the foundations of what will become his martial style beginning to take root here.

Krillin is a tricky trickster. His goal is to be the guy still standing at the end of the fight. That's what he's here for. Though he does quickly soften up and become Goku's Male Bestie (opposited Bulma as Goku's Female Bestie), he carries this pragmatism with him as he begins to develop his skills.

Note that this is not to say Krillin isn't a capable fighter in his own right. As a pupil of Kame-senryu, he is a formidable martial artist. He begins to show the fruits of his martial training as early as the 21st Tenkaichi Budokai, where he crushes one of the monks that used to bully him in the preliminaries. He also pressures his own mentor, the Muten-Roshi, by raw skill alone.

Krillin's got the skills and he uses them. When I say he's underhanded and deceitful, I don't mean instead of fighting straight. It's a weapon in his toolbelt but not the only one. Nonetheless, it's a potent one, as he nearly defeats the Muten-Roshi via a special technique that only Krillin would devise.

Goddammit, Roshi.

He starts out using these kinds of underhanded tricks to compliment his martial arts. But as he grows as a martial artist, he begins to incorporate strategies like this into his art itself.

Aside from a brief and mostly offscreen bout with General Blue, his next significant fights are in the 22nd Tenkaichi Budokai. His fight with Chiaotzu demonstrates the way Krillin's sneakiness and martial training complement one another, as a major spotlight of it is his ki exchange with Chiaotzu.

Chiaotzu, like Tenshinhan, is a trained wielder of the Dodonpa. A lethal technique first introduced by the assassin Taopaipai, designed to fire a thin ki bullet from one finger, straight through its target for a mortal blow.

To counter this, Krillin attempts to perform the Kamehameha for the very first time. Which. Is. Absolutely stupid and reckless, as the Muten-Roshi notes. Baby's First Kamehameha is a poor choice to defend himself from the Dodonpa.

Or it would be, if that were the plan.

This is Krillin's strength in action. He fakes out everyone with an in @ Me Bruh bluff and then skirts around the direct competition to blindside Chiaotzu when he isn't looking. This is what a tricky trickster martial artist looks like.

In his next match with Goku, we see Krillin's ruthless pragmatism on full display. He devises his own version of Tenshinhan's Taiyoken/Solar Flare.

And he nearly wins by a tail when he once again breaks out his weak, improvised Kamehameha.

This bluff is brilliant. He gets Goku's focus on the Kamehameha while his true goal is Goku's tail. Unfortunately for him, Goku - under advisement from both the Muten-Roshi and his Grandpa Gohan - has been training his body to rid himself of that critical flaw over the last three years. His tail no longer saps his energy when it's grabbed.

But if Goku were still the same fighter Krillin knew before, this bluff would have been game-ending for their semifinal match. Krillin's abilities both in martial arts and in knot-cutting have advanced substantially. It's just that Goku's have advanced as well.

Krillin only gets one fight in the 23rd Tenkaichi Budokai. But he goes hard.

In the three years since last tournament, Krillin's devised bending ki blasts that home in on their target. Holy shit, what a stellar-

GOT YOU SUCKER THAT'S A FAKEOUT IT'S KRILLER TIME

Krillin's invented bending ki blasts that home in on their target as a distraction. Sadly for Krillin, characters at this point are beginning to distribute Bukujutsu, the Flying Technique, among themselves so surprise ringouts aren't an option anymore. Piccolo's been capable of performing Bukujutsu since his previous life.

Krillin loses the match, though he does force an admission from Piccolo that martial artists of his caliber will make the world difficult to conquer.

The next chance Krillin has to put his skills on display comes six years later when the Saiyans attack the Earth. Vegeta and Nappa grow their six Saibamen, forcing the Earthlings to entertain them by battling these veggie monsters. Tenshinhan and Yamcha handily defeat two of them, though Yamcha's killed by a surprise attack.

And then Krillin decides enough is enough and makes his move: Opening fire directly on Nappa and Vegeta with everything he's got.

A fool's attack guaranteed to fail against the insurmountable might of the Saiyan-no, wait, what's he doing?

Ha, fuck you, he was aiming for the Saibamen the whole time! Made ya look. Though he does also hit Nappa and Vegeta for good measure.

Krillin is technically the first Earthling to ever land a hit on either of these guys. Imagine that. It doesn't do shit to them, but still.

This fight also brings out Krillin's ultimate technique. The epitome of his skills, the final fruits of his labors, the be-all end-all of Krillin Techniques. You already know what I'm talking about.

This. This, right here. The Kienzan/Destructo Disc is peak Krillin. Literally a knife with which to cut the knot. Everyone else is throwing ki punches except those assassins shooting ki bullets. And Krillin stops to ask, "What if I sharpened my ki into a buzzsaw so I can slice open an opponent's flesh rather than trying to beat them at punching?"

Prior to Goku's arrival, this technique from one of the weakest fighters on this field is the closest the overconfident Nappa ever comes to defeat.

Nappa outright tries to take it like a punch. But for Vegeta paying the fuck attention, this would have taken his head clean off. Even Frieza can't resist it.

Because it's not something you resist. It's a buzzsaw. It doesn't hit, it cleaves. It's a technique that's so utterly Krillin in nature.

In fact, the entire Namek arc in general is peak Krillin. A three-way tug-of-war over the Dragon Balls between Frieza's ungodly might, Vegeta's rogue wildcard antics and deadly force, and Krillin being a tricky trickster gunning for any opportunity to scoop victory out from under them.

That Krillin wins.

This is the key to Krillin's longevity as a character. Like the rest of the cast, he eventually falls victim to inability to keep pace with Goku's advances, and becomes further and further de-emphasized from the big action pieces of Dragon Ball.

Krillin's tricky methods were rarely allowed to grant him much success in the ring due to the way they chafe against Dragon Ball's tone. This simply isn't a series where ruthless pragmatism and knot-cutting generally wins the fight. But those same methods also gave him staying power and an ability to continue influencing the plot of Dragon Ball long after he ceased to be relevant as a fighter.

Krillin's style is designed to punch above his weight class, and he's in general a tricky trickster outside of the ring too. The result of this is tremendous staying power as a weaker character brushing elbows with the titanic super gods of the cast. He may not be the clincher in a fight but there's almost always something for a pragmatist like him to do.

#dragon ball #dragon ball z #krillin

[nalyra-dreaming]

I've been thinking for a long time that Eric Bogosian won't play Daniel for many years if the show really gets the desired 8 seasons, and how to get out of this situation. And I had a crazy theory. What if we get the Devil's Minion in season 2, but not to the full extent. Perhaps they won't tell us until the last episode that there was something more than a chase between Daniel and Armand, and in the finale it will be a tub of ice water for ignorant fans in a compartment with everything else that will happen and for those who know it will also be an emotional meat grinder. And if we are talking about the parallel of Louis and Daniel's story, then if Louis tries to commit suicide, then something will threaten Daniel's life so much that it will bring the moment of his death as close as possible. A worsening of the disease or anything else. And in season 3, we will be shown how Armand is trying to find a way to save him without turning him into a vampire, or he already knows this way and we will be shown how he came to this method, and in parallel with modern Armand who is trying to save Daniel's life, we will be shown past moments of the Devil's Minion with all the details of love/ romance/sex and all sorts of other dirty things, and these memories will somehow enhance the effect of Armand's struggle for his boy's life in the present. And at the end of the third season, Daniel will somehow be given a new/prepared/cloned body. And after that, we'll say goodbye to Eric and Daniel will only be played by Luke as in the past (if flashbacks from the 80s are still needed after season 3) so it is in the present.

How crazy does that sound?

... actually not that crazy given the chronicles!!

I mean... it's probably no coincidence that Sam, Jacob and Rolin want to do "The tale of the Body Thief" (and that rumor re Raglan James?!), which... could fit in very nicely, couldn't it.

I mean... I have always said (and stand by that) that I would love old!Daniel to be turned, but... I can see the narrative hooks they probably would prefer to employ wrt Daniel.

However they will do it will need to be set up very ... carefully though, because the general audience probably won't know what hit them if / when that happens *laughs*

#Anonymous #asks #ask nalyra #amc iwtv #iwtv #amc interview with the vampire #interview with the vampire amc #iwtv amc #iwtv 2022 #interview with the vampire #the devil's minion #armand #daniel molloy #devil's minion

[bizlybebo]

SPOILERS FOR JRWI PD UP TO S2 EP34. LIKE SERIOUSLY MEGA SPOILERS

I was talking about this a while ago, but I never did make a very coherent post about it so:

I think there's a lot to say about the way that the idea of "doing things for the greater good" is thrown around a lot in season 2 between PD and Xavier + Cantrip + Alan.

In episode 18, during the Belltech heist, Alan ends up killing multiple people because he does not understand what he is doing. When the main trio expresses concerns about this, Cantrip and Xavier hold firm that they're doing things for the greater good-- saving more people than Alan could have ever killed.

Then, during episodes 31-33, William does All Of That. Everybody knows this. He essentially tortures a guy and kills another person, for what he is told is the greater good.

I think there's something so interesting to point out there-- how during both significant events at Belltech, the sentiment of things done for the greater good is there. However, the roles get reversed; the first time, Xavier, Cantrip, and Alan are in control. They are not the ones getting hurt. And during the greyscale arc, everything is flipped-- they are the ones being chased, hunted, sliced apart. The narrative scales are tipped, so to say, in order to make one death (Cantrip's) so much more impactful than the 30 or more people who died in the Belltech heist.

And when the PD trio is split during the greyscale arc, alongside all the other chaos going on then, there is no longer any strong moral platform to stand on, no firm opposition to killing and hurting people like that. (Of course, the death isn't intentional on William's behalf, we don't know if it certainly was death, etc etc.)

When Dakota is trying to figure things out on his own, he thinks to himself-- What would William do?

But at the same time, William can only think-- What would Dakota think about what I've done?

#vixen rambles #jrwi pd spoilers #pd spoilers #prime defenders spoilers #jrwi pd #prime defenders #william wisp #dakota cole #jade cantrip #xavier jrwi #alan jrwi

[m1ckeyb3rry]

── PEREGRINE // ONE

Series Synopsis: The ways that you and Seishiro Nagi fall together and fall apart over the years.

Chapter Synopsis: You wrap up your affairs before flying over to your hometown, where your best friend will soon have his wedding.

Series Masterlist

Pairing(s): Nagi x Reader, Kira x Reader

Chapter Word Count: 5.2k

Content Warnings: unhealthy relationships, cheating, non-linear narrative, probably ooc, angst, nagi is endgame, kira sucks, alternate universe, original characters

A/N: you know it’s a m1ckeyb3rry fic when the main love interest doesn’t even show up for the first few chapters…also please note this is NOT THE FIRST CHAPTER of the story there is a prologue before it!! which gives a lot of necessary background so you’re not (as) confused by the plot

divider credits: @/benkeibear

“Sora,” you cooed at your cat, your torso jammed beneath the bed as you tried to pull her out. “Dearest Sora, please don’t make this so difficult.”

“I told you you should’ve gotten rid of her when you had the chance,” Ryosuke said from where he was folding clothes to put in his suitcase. “Honestly, I don’t get why you insist on keeping her around. All she does is shit in the house and make problems.”

“She uses her litter box like a good girl, and she doesn’t cause trouble on purpose,” you said. “She’s an animal, not a person. She’s not capable of malicious intent.”

“Whatever. All I’m saying is that things would be a lot easier if you had just left her at the shelter when you moved in with me,” he said.

“I’ve had her for years,” you said, finally getting a grasp on her body and yanking her out in one swift move. “She’s a part of my family. I don’t know why you’re so determined to hate her.”

“She hates me, too!” he said. True to form, Sora hissed at him as you walked past, her ears flattening to show the disdain she had always held for him. “And you always take her side. It’s like you like her more than me!”

You rolled your eyes. “She’s a cat. You’re jealous of a cat.”

And you’re the one who’s cheating, anyways. You left this second part unsaid, because it wasn’t really relevant to the conversation, and besides, you had done such a good job at maintaining the facade of normalcy in your relationship that it would be a waste to break it just because he was annoying you.

That didn’t stop you from scowling at him when his back was turned, pressing a kiss atop Sora’s head and smiling when she purred at the show of affection — or was it because you were in the kitchen and near to her container of treats on the counter that she was so pleased?

“I’m not sure what to do with you,” you admitted, scratching under her chin with one hand and opening the jar with the other, offering her half of a treat as a consolation for having ripped her so uncaringly from her hiding place. She accepted it daintily, which meant that all was forgiven, and you stroked her in appreciation.

She was an enormous, fluffy white cat, closer in size to a small dog than anything. Her eyes were a wide, endless blue, hence why you had named her Sora, and her fur felt like cotton when you ran your hands through it. You had had her for almost as long as you had been in America, and you thought that there was almost no one in the entire vapid country who you loved more.

Normally, if you and Ryosuke had to go somewhere, you’d drop Sora off at Chigiri’s. She liked him well enough, and he was typically glad for the company, so it was a mutually beneficial deal. But of course, this time, Chigiri would also be away, as he was attending the same wedding that you and Ryosuke were, which meant that you were somewhat out of luck.

Sora dangled limply in your arms like a heap of rags as you paced about the kitchen, trying and failing to come up with someone who could take care of her while you were gone. Finally giving up when you realized that Chigiri had been right, you really did need more friends, you picked up your phone and called the man in question.

“Yo,” he said, answering almost immediately, though you could hear the shower running in the background, which meant he was either about to get into the bath or had gotten out for the express purpose of answering you. Either way, you decided not to hold him up with useless pleasantries.

“Hey, Chigiri,” you said. “I heard you’re going to Reo and May’s wedding?”

“Yeah, I’m between jobs again, so it’s not like I need to take off work or anything,” he said.

“Again?” you said, your resolve to have a quick conversation shattering almost immediately. The sound of water stopped, which meant that he, too, sensed the call was probably not going to be a short one.

“Tell me about it. I can only land short-term gigs at the moment,” he said.

“Maybe you should just move away from trying to coach entirely,” you suggested. “You were a marketing major, right? You could probably go corporate.”

“I know, but I don’t think I’m that desperate yet. I’m sure something or another will come along. The issue is that no high-level team wants a coach who hasn’t played in years, but those high-level gigs are the ones that are much steadier in terms of pay and schedule,” he said.

“I’d want you as a coach,” you said loyally. “If I was a soccer player.”

“You’d be a shitty soccer player. I don’t even think my coaching could change that fact,” he said.

“You’re so mean to me,” you said.

“Someone has to do it,” he said.

“And there I was, trying to support you,” you said. “On a more serious note, though, any team that doesn’t hire you just because of what happened back then is stupid.”

“Oh, I agree completely, but try telling them that. It’s all ‘sorry, but we want a coach that has a little more experience.’ I have experience! The only reason our school ever won games was because of me, even after I stopped being able to play myself. It’s not like that dumbass coach ever did anything for us beyond praising your peacock bastard fiancé,” he said

“Exactly,” you said, though you had no idea how true this was, as according to Ryosuke, he had been the one to carry the team to victory. The roles Chigiri might’ve had to play in their victories, if any, had always been omitted.

“Ugh, it’s fine. Like I said, I’m sure there’s some youth league that’ll take me on next season, so it’s okay. I’ll work it out, like I always do,”he said.

“Let me know if you need help at any point,” you said.

“Always,” he said.

“In the meantime, uh, I actually need your help,” you said.

“Right, I was wondering why you had called,” he said.

“The thing is that I don’t have anyone else I can leave Sora with, so I was going to pay one of my company’s interns to watch her while we’re gone,” you said.

“Aw, make sure you pick someone gentle. She’s very particular,” he said.

“You know, she is my cat,” you said.

“Just reminding you!” he said.

“I think I know who I’m going to ask already, so as long as he agrees to it, it’ll be fine,” you said.

“Okay, so what’s my place in all of this?” he said.

“Ryosuke and I have to go over a little earlier, since I’m the maid of honor, so I was wondering if you’d be alright with watching her until you have to leave?” you said.

“Why, because you don’t have to pay me?” he said.

“I can, if you want,” you said. “It’s just so she can be somewhere she’s comfortable, since she’s never met this kid before.”

“I was just joking, don’t worry about it. Drop her off whenever,” he said.

“You’re the best,” you said.

“Yup,” he agreed. “Now, I was kind of in the middle of something, so…”

“Oops, right, go enjoy your shower,” you said.

“Wait, how’d you know I was showering?”

Although there were several interns working for your company at any given time, you generally paid little attention to most of them. You were too busy with your own work and life to care about their struggles, so beyond giving them advice when they asked and helping them out when you didn’t have to go out of your way to, you didn’t interact with them much.

There was one boy, though, who had caught your eye. Something about his aloof personality and quiet demeanor reminded you of a person you had known back in high school, and you had unofficially adopted him, though you weren’t sure if he was exactly aware of this fact.

Actually, he was definitely unaware, considering the way he all but jumped out of his skin when you sat across from him in the lunchroom.

“Hey, Niko,” you said brightly. His dark hair covered his eyes, so you couldn’t read his reaction, but if you had to guess, it was probably panic. If you were in his place, that was what you’d be feeling, considering it wasn’t exactly typical of the regular employees to hang out with the students.

“Um, hello, Miss L/N,” he said, somehow managing to keep his voice level. “Am I in trouble or something?”

“No,” you said. “I just need you to do me a favor.”

He got out of his seat immediately, pulling out his phone from his pocket and opening the notes app. You furrowed your brow as he tapped his foot expectantly.

“Well? What’s your coffee order? And which shop do you want me to get it from? I accidentally went to Starbucks the other day to get a latte for the director and he freaked out about it,” he said.

“Oh! He thinks Starbucks makes their coffee too sweet, that’s probably why,” you said.

“I learned that the hard way,” he said.

“Yikes, I’m sure that was not a fun conversation,” you said. “But that’s unimportant. I don’t need coffee, and you don’t have to say yes to this or anything. I guess you can consider it to be more of a request from a friend — although I promise I will pay you!”

“Okay,” Niko said hesitantly.

“I’ll just lay it on you,” you said.

“Go ahead,” he said.

“I’m going abroad for a wedding soon, and I need someone to watch my cat,” you said. “She’s very well-behaved and friendly! Honestly, she’ll just sit with you on the couch the whole time, I’m sure. I’ll give you her food and everything, and like I said, I’ll pay you, so how about it?”

For the first time, he looked up at you, his hair falling out of his face and revealing bright, shimmering eyes. He clasped his hands together, a smile threatening to dawn upon his face, and then it was your turn to grow bewildered by the sudden switch in his personality.

“Yes!” he said. “I’d even do it for free, Miss L/N.”

“Woah, are you a cat enthusiast or something? And none of that; of course I’m going to pay, or else it’d just feel like I’m taking advantage of some poor intern,” you said.

“I really like them,” he said. “I’ve had one my whole life, but my house is a three hour drive from campus, so I haven’t gotten to see her much since graduating high school. I really miss hanging out with her, though, so it’ll be nice to have a cat around, even if it’s only for a little while.”

“Perfect!” you said, cheering internally at how well things had worked out. “She’ll be staying with a friend of mine, so if you’ll give me your number, I’ll send it to him so you can coordinate picking her up at some point.”

“Sure,” he said, giving you his phone so you could type his number into your own. “What’s your friend’s name?”

“Hyoma Chigiri,” you said. Niko’s jaw dropped.

“Hyoma Chigiri?” he whispered. “You’re friends with him?”

“Do you know him or something?” you said, handing him his phone back. Niko shook his head.

“Not personally, but I remember reading about what happened to him,” he said. “It’s one of the reasons my parents convinced me to stop playing soccer.”

“Ah, maybe don’t mention it around him,” you said. “He’s doing fine now, but he still doesn’t like talking about it.”

“That’s understandable,” Niko said. “My lips are sealed. I just can’t believe I’m going to have Hyoma Chigiri’s number in my phone!”

“Feel free to act like a fan all you want,” you said, after the initial strangeness of meeting someone still so obsessed with Chigiri had passed. “He really appreciates it when people praise him. Though, you probably shouldn’t spam him or anything.”

“I’ll be just as responsible with his phone number as I will with your cat. Thank you for entrusting me with this, Miss L/N! I promise I won’t let you down,” he said.

“I know you won’t,” you said. “And, to be fair, it’s not really a difficult task. Just sit at home and watch TV a lot and be kind with her; if you can do that, then Sora will be perfectly content.”

“That’s what I’d do anyways,” he said.

“Great,” you said. “Now I can feel even less like I’m taking advantage of some poor intern.”

“Thank you again for your faith in me!” he said when you reached your office, bowing at you as if you were some kind of sage master that had offered him a great opportunity for personal growth.

At least he was taking it seriously. You thanked whatever deity had intervened on your behalf that you had found the one person within a ten-mile radius who would care for Sora as well as you or Chigiri would.

Unlike Ryosuke, you barely packed anything but the most basic of items. This was because you knew full well that the minute you stepped foot on Japanese soil, you would be dragged into Reo’s arms, whereupon he would force you into his car and take you shopping at the closest luxury mall — on his card, of course. He was prone to such acts when it came to you, mostly because you were one of the first true friends he had ever had, and so he tended to spoil you as if you were his baby sister or something.

“How can you be sure that Reo’s going to get you everything you need?” Ryosuke said, eyeing the suitcase you lifted into the trunk of the car. “It’s been a pretty long time since you saw him last. He’s probably matured a ton since then — I mean, he’s getting married! What kind of wife would be okay with her husband doting on some random girl?”

“For one, I’m not some random girl; I’ve known May longer than Reo has, and I’m also the one who introduced them to one another. She knows there’s nothing between us, so there would be no reason for her to not be okay with it. Secondly, I’ve been friends with Reo for so long that he’s more like a weird cousin of mine than anything. The Mikages look after their own, and it just so happens that I am, by proxy, one of them. So I can be reasonably confident that it’ll work out in that way,” you said.

“Don’t you feel bad, then?” he said. “You’re using your best friend for his money.”

“You’re so determined to find fault with our relationship,” you said. “It’s not like that. Everyone has different ways to show affection for the people they care about. It just so happens that Reo’s so wealthy that that kind of thing is his own personal manner.”

Ryosuke scoffed, pressing the button to turn on the ignition and starting the car without another word, prompting a worried mewl from Sora, whose carrier was currently on your lap. You tapped the side to remind her that you were still there with her, and she quieted at that.

“Don’t forget that we have to go to Chigiri’s first,” you said.

“Yes, yes, we’ll stop by your lover’s house,” Ryosuke said. At your surprised expression, he laughed. “What? You’re always with him or at his place. Any normal person would suspect it.”

There were a million things you could say in response, but the least-inflammatory was a repetition of the same thing you had been telling him since the day the two of you got together.

“You know I’ve never been with anyone but you,” you said.

“Of course,” he said. “I guess that’s true. No matter how many people you sleep with now, you can never change the fact that I was the first.”

“Hm,” you said, staring out of the window and speaking to his reflection instead of facing him properly. “Don’t be crude.”

“Come on, it’s just us two. When else can we make these kinds of jokes?” he said.

“You didn’t seem like you were joking,” you noted.

“Y/N, I’m hurt. You thought I was being serious? I mean, did you really think that I believed for a second that anyone preferred that washed up princess’s company to mine?” he said, stalling the car in the driveway and grinning. “Tell him I said hi.”

“You and I both know that’ll accomplish nothing,” you said, slinging the bag of Sora’s things over your shoulder and gripping the handle of her carrier so tightly that your knuckles whitened. “I’ll be back soon. No point in missing our flight.”

“I’ll be here,” Ryosuke said, waving at you as he began to fiddle with the knobs on the car’s dashboard, evidently trying to decide whether he wanted the radio to play classical music or the latest episode of some talk show.

You rang the doorbell and then stepped back, knowing it might take Chigiri a second to get to the door depending on where in the house he was located. Luckily, he had been expecting your arrival, so by the time your arm began to grow numb from holding Sora’s carrier, he was opening the door and inviting you in.

“Thank you again for doing this,” you said, setting the carrier down with a thump and massaging your shoulder. Chigiri crouched gingerly, unzipping the opening to the carrier and allowing Sora to peek her head out. When she realized where she was, she bounded out, rubbing her head against Chigiri’s legs as he breathed out a laugh and rubbed her face with his hands.

“Don’t mention it,” he said. “It’s nice having someone else in the house. Less lonely.”

Your face softened, and if it weren’t for Ryosuke’s presence looming in the driveway, you’d have leaned over and hugged him. But as it was, your fiancé was waiting, and if you lingered for much longer, you risked missing your flight.

“You have Niko’s number?” you said.

“Yeah. He’s kind of a weird kid,” Chigiri said.

“What do you mean?” you said.

“He keeps telling me that he thinks I’m cool and that he can’t believe he’s texting me,” Chigiri said, a faint pink dusting his cheeks. “So strange.”

At this, you smiled, vowing to text Niko and thank him later. His admiration was exactly the boost Chigiri needed when he was so down on his luck, and though he was pretending like he found it odd, it was obvious he was pleased by the attention.

“As long as he can take care of Sora,” you said. Chigiri nodded in determination.

“I’m sure he can. He obviously has good taste in other things, so it stands to reason that he’d be the kind of person who could really look out for her in the way she’s used to,” he said.

“You would be the first to die in a horror movie,” you said. “Did you know that?”

“What? Why would you say such a thing?” he said.

“Never mind,” you said. “I should go. Ryosuke’s in the car, and our flight is soon.”

Chigiri wrinkled his nose, his whole delicate face crumpling at the mention of your fiancé.

“I thought something felt off about the property,” he said.

“You are so dramatic,” you said. “He says hi.”

“Tell him I said fuck off,” Chigiri said.

“I don’t think — actually, sure,” you said. “I’ll do that. See you at the wedding. And Sora, please be a good girl for Chigiri and Niko alike.”

“She will be,” Chigiri said affectionately. Sora had wriggled her way into his arms, and he stood while hugging her to his chest, ready to shut the door behind you. “See you, Y/N.”

You were reluctant to leave, because it would be so easy to stay and talk with Chigiri while playing with Sora, but you knew you had to. Even that knowledge, though, was hardly enough — it was simply the thought of seeing Reo and May again that made you take the next step, and the next, all of the way until you were back in the passenger seat of the car and Ryosuke was reversing the car down the driveway.

“So, how is my beloved teammate?” Ryosuke said. “Did he leave you with a message for me?”

“Yes,” you said. “He told me to tell you to fuck off.”

Ryosuke chuckled. “Sounds about right. He’s always been a petty son of a—”

“Ryosuke,” you sighed. “Do you really get any gain out of insulting the only friend I have left in this country?”

“It’s the same gain he gets out of insulting your fiancé!” he said.

“Which I always reprimand him for,” you said. “And also, he at least has something resembling a reason to resent you. When you do it, it just feels excessive.”

“You defend me to him?” he said.

“Obviously?” you said. “Did you think I wouldn’t?”

“I suddenly feel very cheerful and optimistic,” he observed.

“What are you talking about?” you said. He waved you off.

“Don’t worry about it,” he said. “It was a personal musing. Think of it like an interjection from the narrator, except that in this case, the narrator and the protagonist are the same.”

“Okay,” you said. “Sure. If that’s what makes sense to you.”

The two of you spent the rest of the drive to the airport in relative silence. Ryosuke hummed along to whatever pop song came on the radio, tapping his fingers against the steering wheel as he drove, and you texted your friends — mostly Reo and May, who had been anxiously waiting for your arrival since you had agreed to come at all.

When you had first started dating, you used to go on aimless drives for hours, talking about whatever crossed your mind. Not a second would go by without one of you speaking, but that kind of constant conversation wasn’t sustainable. Eventually, you both ran out of things to say, and so you began to spend more and more of your time together in silence. That was around the time that Ryosuke began to seek outside assistance in quelling the fire which was constantly blazing within him; whether it was a coincidence or a cause, you could not tell, but it remained that everything had happened at once and led to your relationship now being like this.

You always forgot how long the flight back to Japan was. It was the second reason you never visited, beyond the fact that there was hardly anything worth visiting in the first place — it was a day-long ordeal composed of arguing with the TSA agents, waiting in security lines, and of course the flight itself, which was only marginally bearable because Reo insisted on buying you first-class tickets.

You spent most of it dozing, the armrest between you and Ryosuke pushed up so you could lean your head against his chest as he watched a movie. In the haze of your sleep, you could feel his arm wrapping around your shoulders, his fingers idly stroking your cheek as if that were the natural outcome, as if there was no other place that they could come to rest. It was the easiest that things had ever been between you in some time, and subconsciously, you relished in it, in the soft scent of his cologne, in the warmth of pretending like you were loved by someone again.

Reo had told you, in no uncertain terms, to not even attempt going to the baggage claim. He had contacts in the airport who would take care of it, because of course he did, and so the only thing you and Ryosuke had to do was meet him and May at the gate. You stopped in the bathroom, mostly at your insistence, so that you could freshen yourself after the long flight, which had sapped you of most of your energy despite how much of it you had spent sleeping.

“Are you nervous?” Ryosuke said as you reached the door. He held both of your carry-on bags in his hands, an amused grin on his face as you all but vibrated with every step you took.

“Of course,” you said. “I haven’t seen them in so long, and I haven’t been back home in that same amount of time. I don’t know how it’s all changed. And what if it hasn’t? What if the only one who’s changed is me?”

“Only one way to find out,” he said, nudging you in the side. “Look who it is.”

Standing awkwardly by the metal barrier separating the airport from the street in front of it, surrounded by security guards that kept the rest of the crowds at bay, was Reo Mikage. He wore a pair of khaki shorts and a polo, sunglasses perched on his head as he checked the time on the — likely expensive — watch which he wore on his left wrist.

A grin split your face, your spirit rejuvenated as surely as if you had never been exhausted in the first place. Cupping your hands around your mouth to amplify your voice, you shouted out his name with glee.

“Reo!”

The boredom dropped from his expression immediately as his head snapped up, trying to determine the source of the noise. When he locked eyes with you, he beamed so brightly that you were all but blinded by it, and then you were both racing towards the opening in the barricade where you could finally meet.

You tossed your arms around his neck as soon as you could reach him, clinging onto him tightly, suddenly and unreasonably weepy at the fact that the two of you had finally been reunited. He did the same, squeezing you to the point that you thought you might burst from the pressure.

“I can’t believe you’re finally back,” he said, letting you go and holding you at an arm’s length so that he could look you over with a critical eye. “How have you been?”

“Good,” you said. “Where’s May?”

“She had to go to the bathroom,” he said. “She should be back in a couple of seconds, and she’ll probably be furious, too, considering she was really hoping she’d spot you first. I convinced her that it would be fine for her to take a moment to herself, and that it’d probably still be a bit of time before you arrived, but, uh, I guess it ended up being kind of an unfortunate coincidence in that sense.”

“What’s up, man? Congrats on the wedding,” Ryosuke said, finally catching up to you and offering Reo his hand. Reo glanced at it, and anyone who didn’t know him as well as you did wouldn’t have even noticed the way he hesitated before taking it and shaking it with the firm conviction of a businessman.

“Thanks, Kira,” he said. “You’ve been taking care of my best friend?”

“’Course I have been,” Ryosuke said, ruffling your hair. You did your best to force a laugh, not wanting Reo to have to concern himself with your wellbeing when he was about to be married. “You’ll be the one coming back to America for our wedding soon.”

“That so?” Reo said, raising an eyebrow at you. “I expect to be the first one invited to the wedding, then.”

“Was I the first one invited to yours?” you shot back.

“Er, I mean, not exactly…” Reo said, rubbing the back of his neck. “I had to tell Nagi first, since I wanted him to be my best man and had to give him adequate time to prepare for the hassle of the role.”

“Then I’ll invite May first, since she’ll naturally be my maid of honor,” you said, your stomach twisting at the mention of Nagi. “But you can be second, Reo.”

“That’s right!” a new voice said. “He had better be second, considering he sent me to the bathroom so that he could win our bet!”

And then there she was in front of you: Reo’s soon-to-be wife and your former roommate, May Ducat. Her thick brown hair was loose and wavy around her shoulders, and her peacock-feather eyes gleamed as she embraced you tightly.

“May,” you said. “It’s so good to see you.”

“It’s good to see you!” she said. “I miss you every day. Mostly because you were a much better roommate than this one. He snores.”

“Hey!” Reo said, gasping in offense. “I do not.”

You dug around in your pocket before solemnly presenting her with a box of breathe-right strips.

“I know,” you said. May clapped in delight, accepting them and then turning to hand them to Reo, who took them even as he protested that he definitely didn’t need them and how would Y/N even know if I snore, anyways?

“Congratulations, May,” Ryosuke said, offering her his hand as well. May glanced at but did not accept it, opting to smile frigidly instead.

“Thank you for coming,” she said. After a discomfiting pause, Ryosuke lowered his hand, brushing it off against his pants and clearing his throat.

“I couldn’t let Y/N come alone,” he said.

“Of course not,” she said.

“It’ll be my first time meeting her parents,” he said. At this, May gave you a sad look. Though you had never told her much, she had always harbored her suspicions, always been less fond of Ryosuke than she really ought to be, considering he was typically polite to her.

“I hope it goes well,” she said. Ever the diplomat, Reo was the first to break the ensuing silence, clearing his throat.

“Alright, then! I’ll have one of my drivers take you two to your hotel room, where your things will be waiting, and then tonight, we can show you around. Y/N, they just built a new mall where that park used to be, so we can go shopping there,” he said.

“They built a mall over the park?” you said, your eyes widening at the prospect. Reo nodded.

“Isn’t it great? It’s so much more convenient than the one we used to go to,” he said. You disguised your frown with a yawn.

“Right,” you said.

“Try not to sleep,” May advised. “It’ll help you break your jet lag if you just stay up for as long as you can.”

“We’ll do our best,” Ryosuke said. May gave him a measured look before nodding slightly, turning away to continue her conversation with Reo instead of risking further discussion with your fiancé.

The hotel you were staying in was only a few streets down from your childhood home, and as with all things Reo, it was excessively opulent. The shower itself was large enough to fit at least ten people, and you spent far longer in it than was really necessary, rinsing the grime of your journey off of yourself.

“Going to sleep already?” Ryosuke said when you crawled under the covers of the bed beside him. “May recommended we wait.”

“I know,” you said with a yawn. “I’m just going to lie down and close my eyes. I’m not actually going to sleep or anything.”

“Whatever you say,” he said, patting you on the head. “I’ll do the same, then.”

Before long, the both of you had passed out.

#nagi x reader #nagi x y/n #nagi x you #nagi seishiro #bllk x reader #bllk #blue lock #reader insert #modern au #peregrine #m1ckeyb3rry writes

[supersoakerfullofblood]

do you have any tips for writing characters who have a lot of difficulty identifying their own emotions (and other people's)? specifically if the work is from their POV. thank you very much!!

I'll start by saying you're in luck--literature's finest characters are defined by their difficulties identifying their emotions! You're in great company.

As a general rule, don't let your character figure out their emotions until you want some resolution in the narrative (climax, ending, or anywhere in between. Or if you have some second conflict in the narrative, feel free to resolve this one earlier). If your character has clarity about how they feel and what they should do about it, you don't have a compelling narrative but a successful therapy. The trick is in misguiding your characters.

You and I and everyone in the world are misguided about our emotions constantly. We want to feel everything on our terms. If we want a coffee, we want our favorite hazelnut latte, not the Americano. If we go through heartache, we still want to be happy, so we turn to coping mechanisms, often unhealthy, to achieve this. We are emotionally greedy.

Your characters also want to feel everything on their terms, and they don't like that they can't, so they turn to something unhealthy, something they think will solve the problem. In previous posts on my blog, I talk about this in terms of "want" and "need." Your character "needs" to handle the emotions as they are through healthy means, but your character "wants" to feel how they want to feel, which in a strong narrative won't make the character feel better. Ask yourself: if my character was real, how would they react to the situation they're in? When you think of anything unhealthy, write it.

As an example in one of my WIPs, a girl is bullied by the popular kids at her school, and she doesn't like that, but she's also friends with one of the popular kids. Instead of talking to this friend about the bullying, instead of talking to the counselor about it, instead of doing anything that would actually resolve her situation, she decides that if she wants people to stop bullying her, she herself needs to become popular. She notices all the popular kids have boyfriends, so she decides she's going to pursue someone. These are pretty steep leaps of logic, but we do it all the time. Has anyone tried to use romance to bandage emotional sores? Of course!

Macbeth is scared of the witches' prophecy. Does come to peace with it? No! He and his wife kill a lotta people!

Think of your favorite book: how do its characters try and fail to come to terms with their emotions?

As far as "how to write," it sounds like you're writing in first person, and if you are, I can't help too much--I have next to no experience there. But if you're narrating through your character's thoughts, never let them land on the right thought, the idea that will get them out of their bind. It might help to focus on physical sensations and the things people say and do around them--how is your character affected, and how do they interpret these things? Never let them interpret them well and correctly until you want resolution.

#writeblr #writing #writing advice #fanfic #writers on tumblr #bookblr #creative writing #writing questions #writerscommunity #booklr

[thowawayuntilfurthernotice]

No, I have no interest in watching the remainder of Helluva Boss season two.

I can tolerate a bad adult cartoon, trust me, I've sat through plenty of godawful shows. But Helluva Boss is one of those rare shows that genuinely keeps finding new ways to piss me off.

It'd be one thing if the show was flawed but had some positive aspects to balance out those flaws, but it just doesn't.

Yeah, the animation is pretty, but so what? That doesn't change the fact that the writing is awful beyond belief.

And look, I'm not one of those guys who's all like "Ugh, this sucks. I could do better" because I understand that getting any project off the ground isn't a simple thing to achieve. It's a miracle that half the projects that get green lit see the light of day.

So no, I'm not "jealous" of Viv, I just think this show is terrible.

The fact that the entire narrative now revolves around Stolas is baffling. I get that shows evolve overtime, but having everything revolve around Stolas and his relationship with Blitzo kind of makes me wonder why Viv even bothered with the assassins for hire pitch.

But then again, Viv is constantly giving up on her main story premises in favor of ship teasing and fan service.

Remember when Hazbin Hotel was supposed to be about a hotel that sinners would go to to get redeemed? Because Viv doesn't!

Furthermore, unlike Hazbin Hotel, I don't think Helluva Boss' narrative could be salvaged by other writers. As we're two seasons in and the Stolas narrative doesn't leave much room for of an endgame.

All the villains are so cartoonishly evil and one note that it's tough to see any of them as a threat. There is never a point where you truly believe that Stolas and Blitzo won't end up together by the end and the series doesn't seem to be building up towards anything.

Oh, and for any Viv fan who's going to respond with the "Don't like it don't watch" argument in the comments and reblogs, I just want to say that you should apply that argument to all the shows and movies that you dislike.

It's easy to use that argument when it comes to defending shows you like from criticism, but we all know you don't do the same for the stuff you hate.

#Vivziepop Critical #Hazbin Hotel Critical #Helluva Boss Critical #Spindlehorse Critical #Helluva Boss

[utilitycaster]

(I haven’t watched C3 in a while (the party had gotten back after being split into two after Vax got orbed) so my info is a bit dated)

I often wondered about how little info there is about Orym’s husband known to the party, how little has been asked or shared.

And I get that BH is very different from M9, BH tends to be very non-confrontational and doesn’t poke at others pasts much, but we do have another character who had a dead spouse: Yasha.

And M9 did know about Zuala because Yasha shared it and they knew little things like she likes flowers and they gave tribute to her when they could. The mural, the flowers, the remembrance and asking if Yasha would share her stories.

And I dunno, maybe I’m not remembering right, but there hasn’t been much of the same with Orym. I feel like most of what I know about Orym and his dead family comes from monologues or times when Liam sets aside a character moment to act solely. Orym doesn’t share, the party doesn’t ask and some of it feels like because a Orym has often has to defend himself against the Pro-Vanguard debates.

They had to go to Zephrah to get to know more about Orym’s dead family and a lot of that info came from NPCs!

I dunno. I haven’t seen the show in a while but I felt it when more then 50 episodes passed and still felt a difference between how gently Zuala was treated and remembered vs how Will is only brought up to prove bad guys are bad guys with only Orym trying to keep his memories in a soft place.

Hi anon,

I actually disagree with most of this! I think the fandom has a lot of issues with Orym, which I'll talk about below, but I do not think Bells Hells are dismissive of Will. I think the reason it comes up is very simple, namely, the manner of Will's death is core to the conflicts and factions within the campaign, whereas Zuala's death is obviously a huge factor in Yasha's backstory, but the Mighty Nein are not dealing with the Dolorov tribe in any capacity. Will's death, is, in fact, a symbol of the Ruby Vanguard's brutality and callousness as well as Orym's husband within the narrative; whereas Zuala is just Zuala.

I don't think Bells Hells has been particularly unfeeling towards Orym with regards to Will and Derrig's deaths when they come up, nor do I think their discussion of the Vanguard is borne of not caring. I think that the Vanguard's harm is particularly real for some party members, and until FCG's death just now it felt a little bit more distant for others. I think the conflict in-game stems from that: when you combine how viscerally real the threat of the Vanguard is to Orym and the way it's not so direct for others (and, obviously, that Imogen's mother holds a position of power within it) and also consider the characters' differences re: how they bring up (or don't bring up) difficult topics, you get some painful conversations! When I say I understand why Orym might not want to talk to the rest of Bells Hells because this is a topic of discussion, I don't think the rest of Bells Hells are bullying him or being deliberately unkind; I just think that there's a lot of misunderstanding and hurt feelings. When Will has come up as a topic of his own - and the conversations I specifically remember are with Chetney in the Heartmoor and with Fearne and FCG at Will and Derrig's graves - those party members have always been incredibly kind and supportive. It's the fact that his death is fundamentally a political one that adds a wrinkle, and that wasn't how Zuala figured into the party.

I also would add as an aside that the Mighty Nein did ultimately have a much more open arena for discussion, as witnessed by them eventually bringing up the possibility of partnering with Trent; that feels far more analogous to the discussions about the Vanguard than anything regarding Zuala, since the issue isn't ultimately "dead spouse", but "organization that is directly responsible for causing a character's life-altering trauma for the purposes of conquest and deliberately stoking unrest." I think there's a number of reasons why the Nein are able to do this, notably that the first time anyone considers it, it is very much a guarded thing; that no one but Caleb is personally impacted (whereas Imogen and Orym are placed at odds solely by their familial connections); and that it comes much, much later after the party has spent months clearly detesting Trent, so there is an increased sense of trust from Caleb.

Now, the fandom is a different story. Or rather, it's more similar than you think. The CR fandom (and probably others, but this is the one I've observed) has, since I started lurking in mid-2018 and actively participating about a year later, always had its share of people being extremely weird about grief. Some of it is shipping motivated (people who didn't like Beauyasha claiming Yasha wasn't ready and was too hung up on her dead wife; people who don't like Dorym or who resented the fact that Orym was resurrected before Laudna claiming either Orym isn't ready or, more chillingly, that he'd be happier dead). Some is not - I've mentioned before, but my favorite member of Vox Machina is Vex, and after I finished Campaign 1 I started looking for Vex content (again, this is mid-2018) and was inundated with "what if she can't braid her HAIR because she's too SAD because Vax is DEAD." Even now, I must admit, I look askance at the people claiming the throw to the Crown Keepers is good because it's a break - I don't think you need a break, unless you're extremely uncomfortable with grief or strong emotions! The first Campaign 2 episode I watched properly live (at least to the break) was episode 27 specifically because I wanted to see Beau and Caleb and Nott deal with that death now and didn't want to wait until Friday morning. I'm going to a concert this Thursday and won't be able to watch live and I can tell you what, I'm watching the back half of episode 93 Friday morning and the Crown Keepers half when I get to it, because this is what interests me, and it's fine if it's not what interests you, but someone you love is going to die one day and I have found that working through this through fiction lends a lot of meaning and catharsis. This is not, in fact, an unusual position; I highly recommend finding Liam's tweets from after Molly's death, and reading Ashly's essay about losing her partner, which she had written earlier but shared at that time as well. A core part of experiencing grief is that there is no break; there is only time.

In short, grief is complicated and unpredictable and it is indeed a part of Yasha and Orym (and no shortage of other characters) and will always influence them and be a part of them while also not serving as an end to their lives, and I think many people struggle with that. I suppose usually the response is more sympathetic within the fandom as it is towards Orym (though as discussed various fans used it to sideline Yasha's desires, to sand away Vex and Keyleth's ambitions and genuine excitment to live and grow, and don't get me started on Caleb or Vax). But it's always been a problem.

Ultimately, I think the reason Orym is treated so coldly is that, again, there's always been an issue within fandom of treating one's favorite characters as unimpeachable and any conflict with them or discussion of their flaws as a violent affront; but it does feel particularly pronounced in this campaign, particularly with regards to any obstacles (real or perceived) to Imogen or Laudna. [I could write an entire history of this campaign because it started with Laudna being The Untouchable One and only flipped to Imogen around the time of the solstice.] Hence such statements that, I truly cannot stress enough, I would rather give up internet access forever than admit to harboring such callousness within my heart as "Orym would be happier dead because his husband is dead" or "He has an obligation to recuse himself from discussions surrounding the Vanguard because he cannot be objective, a thing that is normal to expect of people with emotions and experiences and possible to achieve." (The latter really does pose a fascinating loophole. If the Vanguard just senselessly kills one or two family members from everyone's family then no one can oppose them, because it would then be biased and motivated by revenge. Life hack! It also reveals a pretty fundamental hypocrisy; if Ludinus is a Calamity survivor, maybe he should also be recusing himself! What's the math on how many people directly connected to you must be killed for your opinion to be right and good, rather than wrong and subjective?)

I think all of the above is, while, as discussed immediately above, not objective in that I'm a human being with personal experiences and emotions, fairly self-evident. I'll conclude by going into something that is within the realm of opinion, but I think is relevant to the discussion.

I personally believe the Vanguard's methods are sufficiently vile so as to cast doubt on all of their goals, but even if one doesn't, I find the idea that the Predathos should be unleashed and the gods should be killed is, ultimately, short-sighted, deeply self-centered, ahistorical within the canon (ie, unsupported by the text both in terms of canon events and, if we're counting them, appeals to emotion and authority - not terribly useful in real life, but very much the truth in a D&D actual play narrative), and a far less interesting story to boot. I think it would be devastating on a cosmic level in-world and that "oh it will sort itself out, probably" is perhaps the reddest flag one can wave in such discussions. So I do think that while Orym is acting on the basis of emotion, I also think he's right, and so the callousness is, as I've said elsewhere, a last-ditch effort by those with no capacity to construct a meaningful argument, because they think he's wrong and pointing out he's acting on the basis of emotion is their only ammunition to discredit him. At best I think the people who are arguing that the Vanguard is cruel but their cause is just have an extremely poor understanding of the setting and the specific narrative structures of this medium. Which isn't to say some of Bells Hells might not still make that choice, though Imogen telling Orym "I want you to know that that for a while it may have felt that you and I were not seeing eye to eye or maybe you felt that I, I didn't have the same goal in mind that you did. But don't worry about that anymore, all right?" in the wake of Liliana's conversation and the death of their only divinely-aligned friend feels rather indicative of their direction. But I do not think it is a choice defensible on the basis of morality; only defensible on the basis of "something a very hurt and angry and damaged person might choose to do."

People are specifically like this towards Orym because he is the mouthpiece for an opinion they don't like but ultimately cannot meaningfully argue against, and part of his justification in-world is the death of Will. While there was no shortage of people who hated Yasha, either for "die for our ship" reasons or your normal Reddit Bro misogyny, Zuala was mostly irrelevant to that discussion, hence the difference in how they're treated.

#answered #Anonymous #cr tag #long post #cr discourse

[wolfscarr]

Helluva Broken Narrative and the most useless character..

Disclaimer: Not saying you can't enjoy this show folks. Enjoy it all you want, this is just a rant about the lack of a cohesive narrative!

I really was completely dead on posting, but I just can't get this out of my head.

I feel people should be acknowledging this far more than it has been, this is extremely important. This goes beyond just episode pacing, this goes beyond the characters....this is something that without it? There is no real show, which is....

Helluva Boss has a BROKEN NARRATIVE.

Some fans wanna claim it has this 'complex' writing and I'm sitting here going like "really? Where?"

It doesn't sorry and know why? Because Season 2 of this show, basically broke the narrative that Season 1 was building.

These past posts of mine, will show you why the narrative is broken.

Now can they continue on with the story they are telling? Yes of course they can, but it won't fix the fact that it's not coherent to Season 1, that it's not needed.

Wanna know who the most useless character in the show is now? If you guessed Stolas, you're correct! In the meaning of making Stolas this guy who did nothing wrong and who's sad....they took away his character purpose.

Stolas has ZERO purpose being within the show now, given how things have played out.

But you might say

"Well he's needed to give Blitz the Crystal and end the deal!"

Except....no, he wasn't. They could have just delivered the crystal to I.M.P. They have Blitz’ number, just call him, get a servant to send it etc.

Remembering my posts above, where you can have I.M.P. killing in Hell as a Season 1 thing?

Maybe they're just getting started with their company? So Blitz wants to supplement with killing in Hell by killing those up top so he goes to see about getting an Asmodean Crystal?

See let's backtrack here folks, the episode Oops it was mainly about Blitz and Fizz reconciling right? Which they do at the end of the episode. Now follow this, if we take into account the above, Blitz' dialogue could be.

Blitz: "Fizz look, I know what happened to you was horrible. I don't...expect you to forgive me, but I'm struggling to support myself, my daughter and my employees with my company. I....if you can just think on it, perhaps I could get one of those Asmodean Crystals?"

The scene ends and Fizz goes back to Ozzie, while along the way he's thinking about Blitz' words and how he was saved by him where in the end, Fizz agrees to send Blitz a Crystal because he's earned it from saving his very life.

Or here's another scenario, Blitz has a Crystal from the start(which he took from Verosika when they were dating), but as things get far more hectic up on Earth with more dangers. The Crystal ends up shattering after I.M.P. gets back to Hell after a job, thus Blitz goes to actually confront his past and reconcile with Fizz in order to try and get a new one.

See how easy it is now, to just remove Stolas entirely? They took away a character's purpose of being in the show....that to me, is completely disappointing. Characters, especially those that are suppose to be IMPORTANT, should have a purpose...without that? You may as well just delete them entirely.

Blitz could have had 2 whole Seasons with relating to the past and those that he hurt, that he TRULY hurt(Verosika, Fizz and Barbie) that would actually matter to him as a character. But instead, all these characters are instead shoved to the wayside, for a character who doesn't matter anymore and only actually matters because the writing is FORCING him to matter.

You can write the narrative in so many different ways with what Season 2 gives us, that completely destroys what Season 1 told us. Are we now expected to just....IGNORE AN ENTIRE SEASON?

They can do this whole "sad Stolas is sad and Blitz is hurt and Stolas is going to give him a crystal." Thing all the way to 'try' and fix things, but it'll fix nothing....because the deal between them was retroactively made completely pointless.

The show will continue obviously, but in the back of the minds....it will be a broken narrative and Season 1 is basically buried 6 feet under. As a writer, this really annoys me....because they had how long between Seasons to nail this down? How long have we all waited just in-between episodes? This shouldn't have happened.

Yes, is storytelling hard? Obviously, none of my stories are perfect....but at least the narrative is coherent from beginning to end.

Anyway...I just...had to get this out of my head, because it was really frustrating and I want it to be acknowledged more. The narrative is important folks, if it's broken...that's not a good thing.

I'm still watching this show....if only because I'm knee deep in it now and I still somewhat actually like the characters, but what I don't like...is this broken narrative that is still hanging around with a pointless character that doesn't matter to the show anymore.

Narratives, coherent narratives are important to a story, without it? You don't have characters and you don't have a story.

#helluva boss #helluva critique #helluva boss critical #helluva critical #helluva boss criticism #vivziepop critical #Narratives are the MOST IMPORTANT THING! #helluva boss season 2 #helluva boss season two #helluva boss blitz #anti stolas