I need people to understand that JK Rowling sucks because she is a TERF and not because she wrote a book you didn't like
The books themselves are not the point and you all need to get over that part because debating the quality of Harry Potter muddies the water
She is doing harm right now and you're wasting everyone's time arguing about whether the books were 'actually bad the whole time, you plebs just had bad taste' or 'actually great and everyone has to appreciate these parts' or whatever
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Crazy thing is, every cell in my body knows Metropolis is such a boring ass city where Superman's the best hero because no major shit takes place, BUT.
Metropolis, to me, is very interesting due to it's portrayal of politics, and the impartial stance the citizens take regarding Superman.
As long as he provides them with service and protection, they see him as valuable and worthwhile or deserving of rights. Granted maybe not all, but too many!!
While in Gotham?? Bruce straight up sends Nazis to the hospital nightly. Gives the mfs the meatball treatment.
He has more beef with the underfunded art programs than any rogue. Wears ACAB pins while working with the GCPD.
Like, -- Clark can't freely express his favor to a specific party cause That'd be a shit show,
but Bruce? He's out here like, " I don't believe in murder. I do believe in self-inflicted murder. That being said, if you're a nazi, kill yourself any day. It's okay."
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just found one of my favorite pieces of writing advice when it comes to interactive fiction, i think if you've read literally any of my work, it will be pretty obvious how much i use this in my own writing. i actually couldn't remember where i read this for the first time and on a whim i went through my twitter likes and found it in a thread. i'm going to transcribe it for ease of reading, but this is all coming from Alexander Freed (@/AlexanderMFreed on twitter)
he has a website here with other compiled writing advice about branching narratives and game design, though he never posted this there and hasn't really updated recently (but still check it out. there's some specific entries about writing romance, branching and linear & other game writing advice)
original twitter thread here
It's Tuesday night and I feel like teaching some of what I've learned in 15 years of branching narrative video game writing. Let's go in-depth about one incredibly specific subject: neutral / fallthrough / catchall response options!
Player ownership of the protagonist in choice-based branching narrative games (a la BioWare, Telltale, mobile narrative games, etc) is a vital aspect of the form.
The ability for the audience to shape a Player Character, to develop that character's inner life in their own mind, is unmatched in any other medium.
The Player determines the character's actions and THE MOTIVATIONS for those actions. The character's psychology can literally be as complex as the Player can imagine. However, this works best when there's enough space for the Player to develop those motivations. No game can offer enough options to support every interpretation imaginable; much of the character has to live in the Player's head, without necessarily appearing on the screen.
That's complicated. We're going to unpack it.
Generally, when presenting choices to a Player, we want those choices to be as interesting and compelling as possible.
But compelling, dramatic choices tend to be revealing of character. And no game can support hundreds of options at every choice point for every possible character motivation a Player might imagine.
This sort of narrative CANNOT maintain its integrity if the Player is forced to constantly "rewrite" their characterization of the Player Character on the fly. You want your Player to feel like they have more than enough viable options at any given moment.
At the simplest level of writing, this is where "fallthrough" responses come in.
In the examples above, each moment contains a response which furthers the story but doesn't imply a huge emotional choice for the Player. The Player is asked to choose A or B, agree or disagree, but can sidestep the issue altogether if desired.
These "neutral" responses are vital if both A and B don't appeal to the Player... or if, perhaps, the Player likes A but not the WAY A is being expressed. Milquetoast option C works for anyone; thus, the Player is never forced to break character because of a lack of options.
Questions work well for this sort of neutral option. Tacit agreement and dead silence also serve, in certain sorts of stories--as a Player, I know what's going on in my silent character's head and the game won't contradict it.
The important thing is that I'm never forced to take a path that's outright WRONG for my character. Even if other characters misinterpret the Player Character's motivation, my character's inner life remains internally consistent.
"Neutral" responses aren't the only ways to go, though. Some responses are appropriate for any character because they're tied to the base character concept.
Here, for example (from @/seankmckeever's X-Files), the Player is a marine on a mission. The Player can respond abrasively to her partner's fear or look into the issue (out of compassion or genuine belief), but our fallthrough is actually the TOP response.
There's no version of our marine who would absolutely break character by picking "Stay calm and on mission." It's not blandly neutral; rather, it reinforces aspects of the character we can be sure of and gives the Player an option if nothing else works.
Different sorts of narratives will use different sorts of fallthroughs. A comedy might treat the option to say something funny as a fallthrough, of sorts--it's entertaining and will never violate the characterization the Player has created.
In a quest-driven RPG, a fallthrough response can often boil down to "How do I move to the next step of this quest?"
That said, the strongest moments in a narrative will often have no "fallthrough" response at all. They'll work by creating multiple responses that, by overlapping, cover all reasonable Player Character actions while still leaving room for the Player to ascribe motivation.
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so i was thinking about this post, specifically the comparison between Ianthe/Babs and Silas/Colum. because on the surface, they're both necromancers whose relationship to their cavalier seems wholly consumptive. but: Silas differs from Ianthe on one big, key point -- he refuses to ascend to lyctorhood. he has been indoctrinated since birth to view his cavalier as only a tool for him; Colum was quite literally made for him, the 8th house breeds batteries, but when the chips are down silas refuses. he tried to kill Ianthe for it!! like, he was the only one in the room who thought what Ianthe did was so fucked up that she should die for it.
and this is so fascinating!! because one could potentially interpret the 8th house's treatment of their cavaliers like Mercymorn trying to innoculate her house against the grief that destroyed her for 10,000 years. she loved Cristabel too much, and she never wanted that to happen to anyone else. but the thing is, I don't think it worked. at best, I can see Silas becoming like Augustine "human plex" the First. you are not immune to grief etc.
and i think this is going to be important like, idk. the 8th house is the only dead Canaan House pair that hasn't yet had their arc concluded. and IMO, i think the 9th house wasnt the only house to have their dynamic be challenged by and radically shift due to the events of GtN!! that scene where Silas invites Gideon to "take tea" and then tells Colum to kill her -- Colum refuses, Silas lets Gideon go, and we never see the conclusion of that fight. and of course, despite refusing to wholly consume his soul, when fighting Ianthe Silas falls back on old habits to steamroll Colum's agency, and ends up opening the path for the River Devil that comes and kills them both. I think it is very intentional that this is framed as a consequence of Silas overriding Colum's agency and treating Colum like a tool and not a person, and I think the rest of their arc is going to address this. in HtN, when Silas fled Harrow's bubble, I am convinced that he went to go find Colum's soul.
im very interested to see where their arc leads re: forgiveness, atonement, etc, especially in the context of Gideon's forgiveness of Harrow in the pool scene, Hot Sauce's forgiveness of Nona, and Ortus & Harrow's mutual forgiveness of each other. how do we make it right when it can never be made right, how can we move forward without ever being able to erase what we have done to each other?
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I'm tired! So no gif! Slim month for reading, but I did some neat crafts and made great progress on Secret Knitting Project I. Kicked some ass at Project Sekai, started rewatching Leverage, life goes on.
The Foxglove King by Hannah Whitten ⭐⭐ - A strong start, but it quickly went downhill once we got to the court. It was boring, everyone sucks, and the magic is not as cool as it originally seemed to be.
Among Thieves by MJ Kuhn ⭐½ - I was SO hyped for this when it was released. It's been sitting on my shelf since because of who I am as a person, like an IMPOSTER. Took more than half the book just to get to the heist, and the heist wasn't even GOOD. Too many POVs, no one felt fleshed out enough, and the Secrets were just handed to the reader in the first third. It will no longer live on my shelf.
Mislaid in Parts Half Know by Seanan McGuire ⭐⭐⭐⭐ - not my favorite Wayward book, but still enjoyable. I thought it rehashed the ending of Antsy's last book a little too much, but it was nice to see more of her and go back to the Store. Also loved seeing Kade's Door and Cora's ending.
I have one (1) concrete book plan for April, and that's Midnight Riot by Ben Aaronovitch. Consider me successfully bullied (friendly). I very much want to finish Secret Knitting Project I so I can move on to Secret Sewing Projects and Momther's Blanket I'm still waiting on a few audio holds too, so that will be fun for crafting purposes. Haven't been in the mood to do much art, but I have some fun ideas for paint! Let's go!
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