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#bakahimesama
gothamcityneedsme · 6 months
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So, BG3, am I right? How do you feel about the ending? And who did you romance first, if anyone?
@bakahimesama BG3 yes!!!!!!!
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I really loved the ending--maybe a few more epilogues like text would've been nice, but really I think the game was good at communicating where it was going, and it still had a lot of great twists along the way. I really do feel content with where my character ended up and how she accomplished her goal.
(I trusted the Emperor and realized that was a huge risk, but it was one my character decided to take due to the events of the game overtime. She was not trusting of him for a HUGE part of the game).
I romanced Gale! My character was a paladin and she clicked with him almost immediately, although it took me somewhere around 70 hours to actually get the romance started (as his is initially slow, lol). He's fascinating to me, definitely my favorite character of the game. Second favorite would be Shadowheart.
What about you?
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the-a-j-universe · 3 years
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I really appreciate all the dog pictures you reblog. Like I hear two seconds of the news, and immediately whip out my phone to scroll through corgis. Thank you <3 How have you been holding up?
You’re welcome. I’m glad.
I’ve been sick thanks for asking lol. Not, like, that kind of sick, just a stomach bug, but it’s been leaving me tired and dehydrated. Annoying more than anything.
Otherwise I’m surprisingly good. The news cycle gets to me, too, but I’m making a concerted effort to remain positive. I’m choosing to believe that we can make things better.
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flame-cat · 5 years
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Oscar semblance and how he unlocks it?
this is one im literally just gonna be spitballing on, honestly!
we really have no hints as to what his semblance could possible be. after all, he only just started being able to use aura in any capacity. there is, in canon, the possibility for people to have no semblance or simply never discover it, but i really dont see rt going that route with him. especially since hes heavily involved in combat situations and pretty solidly established as a main character.
a lot of the fndm has theorized that it will be plant-related, which is really interesting! but i also dont think that quite fits him. just because he was a farmhand doesnt mean thats a core part of his personality! in fact, if you recall, oz did say that oscar really didnt want to be a farmhand, at least not for a long time. i imagine its more of a situation of oscar being a kid and being in his aunts care, which means he has to help out on her farm.
i have a couple of ideas, both of which have a vague link to canon but mostly theyre just things i think are neat.
the first thing is a type of force field/shield. i know, i know, aura kind of does that already, but i mean at a wider scale- protecting multiple people at once or, perhaps with training, even whole buildings. hes definitely the type to jump in and take a hit for someone, so this would help in that regard- being able to protect what he cares about is his prime motivation for continuing to be a huntsman aside from, yknow, the ozma thing. i also think that it would be a very cool parallel to the haven fight where oscar needed to be protected by others a lot. now that hes far more independent, he can return the favor.
the second thing is a little more hype. so, like, yknow the theory that in the whole wizard of oz narrative, oscar is dorothy? well, i had this idea, right, about the phrase “there’s no place like home” and what that means in the context of the original book. well, what if oscars semblance was something like that? 
i dont mean he literally chants a phrase three times and clicks his heels together, though that would be very cute to see. what i mean is the ability to teleport. yeah, ok, really doesnt go with his motif, right? cuz ozpin is all clocks and gears and such- wouldnt it make more sense to have it be time related? well, the thing is, clocks was OZPINS thing. whats oscars thing? at the moment, it doesnt appear to be anything solid. aside from the allusions to the wizard of oz and the whole narrative of him being another bildungsroman for the rwbyverse, we dont really have an “aesthetic” persae to apply to oscar. so, i say my thing is just as applicable as the plants thing.
but its not just teleporting willy-nilly, thatd be way too op and vague. what i mean by “no place like home” is that oscar can only teleport if hes thinking about going somewhere he thinks is safe. but i also dont want this to be about any particular PLACE. rather, i find the narrative of found families and the idea that home does not have to be a set location, rather can just be a group of people, to be potentially profound here. what im getting at is that oscar can teleport to PEOPLE. specifically locating their aura and bringing himself to it. 
i actually have something in the works that touches more on the how, why, when, and where of that little theory, but youll have to wait for that.
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unassumingvenusaur · 7 years
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I don't know if my ask sent the first time, so this is just in case. May I claim Mozu/Charlotte C-S and Chrom/Donnel C-A?
Those are both fine! Looks like your first ask didn’t go through, sorry!
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Every night, Nox takes it upon herself to purify the souls of the recently deceased, before they can reincarnate. Though the process is excruciating, she refuses to take a night off. Never again. Not after the Holocaust.
My character Alex works to help put the recently deceased back on their feet as a sort of ‘undead spokesperson.’ Considering he’s essentially a living ghost, he’s got a pretty good understanding of their problems.
-D
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howtofightwrite · 4 years
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Q&A: The Drawbacks of Teleportation
bakahimesama said to howtofightwrite:
I’m trying to write battle scenes in a war with an overpowered MC. The main character is 1 of only 5 mages in the whole world (she gained the favor of a God). Her power is the ability to teleport herself, and up to 2 other people, anywhere she can see. She has been knighted, and is currently being used as a “secret weapon” against to weaken and confuse the enemy. Would guerrilla style tactics be the best method? And how would the enemy effectively counter her, without a mage on their side?
When you call a character overpowered, it’s because you’ve already decided in your mind that they’re unbeatable. This is bad for your tension, and your combat sequences, and your story in general.
If you don’t know how a character can be beaten, then it’s because you haven’t given them, their powers, their strengths, and their weaknesses enough thought.
Your character is only one of five mages in the world who can do magic, but if all she can do is teleport and is limited to being able to see where she’s going then that’s not really overpowered. You just need to acknowledge the power’s weaknesses. She’s also not going to be a “secret weapon” for very long, extended encounters with enemies will solve that problem. (If you’re justification is, “no one will believe that!” then you may want to re-think it. First time? Yes. The next five or six? No.) If she’s actively using her powers and lacking in mental modification powers like telepathy, she’ll never kill enough of them to keep the secret safe. At some point, the secret will be blown. Likely sooner than later. Also, just in general, people talk. If your character was a nobody who got knighted after they received their powers, people (not just the enemy) are going to want to know why.
Don’t underestimate the characters without powers and their ability to both acknowledge and adapt to new situations. Don’t underestimate intellectual curiosity, or curiosity in general from side characters. Many writers do to their detriment. Remember, your main character isn’t the only one who can affect the world around them or the narrative.
Now, let’s talk about teleportation.
Teleportation:
By itself, teleportation isn’t actually an OP superpower. Like all superpowers, it can feel overpowered in the right hands with a character who can use the skill effectively and creatively. Teleportation can have devastating results, but, by itself, with a character who can teleport themselves (and two friends) rather than teleporting other people at range, they’re already limited in what they can do. If their reaction times are human (rather than supernaturally enhanced), if they don’t have the ability to read the situation before they jump then they’re going blind, and they’re even more limited. They’re also not that difficult to counter.
A character who can’t teleport an opponent at range, can’t teleport their opponent into space, into the sun, into the Marianas Trench, or kill them with fall damage (and the added psychological horror of dropping them on their comrades) without significant risk to themselves. They also can’t teleport themselves to total safety if things go wrong. If they have to look and see where they’re going as opposed to seeing where they want to be in their mind (like say five miles in the air or on a mountain peak), then their ability to use teleportation in combat will be significantly slowed.
If they can only teleport places they can see, then they can’t get to someone who’s outside their line of sight. They can’t conveniently get to high priority targets like commanders and generals who may not be on the front lines, and are unable to surgically disrupt the enemy’s ability to plan their battle without significant effort prior. There’s no casual, “your general’s encampment is way over there, right? Imma gonna go kill him. Peace.”
The teleportation/telepathy/precognition combo is brutal if the character is an assassin. Rip the secret location from your enemy’s brain, check what trouble you’d get into if you went there, and then go there.
If the teleportation is a conscious decision which requires focus rather than a reflexive ability, allowing for movement without thinking, then it’s combat advantage is also more limited.
Martial combat, for reference, is reflexive. The goal of training is for you to be able to decide what to do and do it without needing to think about the mechanics. You’ve trained your body to react to specific stimulus, meaning you can react and even attack before your conscious mind has time to catch up. When the focus is in your conscious mind, requiring concentration, you can only perform one action at a time. This means your MC would be at her most vulnerable in the moments before and after her jump, and that would be the point an enemy would exploit.
This translates into: teleport then attack versus teleport and attack.
One way to get around this issue is to have some physical component to the teleportation which allows for the port to also become an attack by itself. There’s lots of singular teleportation powers/gap closers in games which do this, but it’s something to consider for your mage character.
Personal Transport versus Ranged:
The problem with singular teleportation versus ranged teleportation is your only real advantage is surprise. It’s a great power for someone who specializes in ambush tactics, but can quickly turn into a one trick pony if the writer and character aren’t careful.
The key to understanding any power is grasping both it’s strengths, and it’s limitations. Most characters you see in fiction that have OP teleportation skills like Ciri from The Witcher or Nightcrawler from X-men either have a subset of secondary powers they can utilize to enhance those powers or the teleportation itself is a secondary to their greater abilities. 
For example: if you want a character who can appear multiple places and attack the same enemy in the same moment like Ciri does in The Witcher 3: The Wild Hunt, then you also need a character who can control time and space. In Ciri’s case, her teleportation abilities are a byproduct of her true powers, which are primarily instantaneous dimensional travel and the ability to control the flow of time. 
Teleportation does not allow you to appear in multiple places at the same time, unless you’re also breaking dimensional physics, have the ability to spawn clones, or speed up the flow of time so it’s actually your after image someone else is seeing as you complete multiple attacks (seemingly) in a single moment.
The problem with ambush tactics are they’re not built for prolonged conflict, if the MC’s reflexes aren’t better than the individual they’re attacking then it’s possible they and their teleportation could be defeated or driven off by an unpowered human opponent of superior combat ability.
Combat teleportation can come with a lot of issues: 
Visual Tells —  when the character is moving in and out. 
Audible Cues — sound of the air they’ve taken with them disappearing and reappearing, or similar disruptions. 
Timing – time delays for them in the moment they disappear and reappear. If they’re not actually carving holes and moving through a different dimension for travel, they may not be able to completely control the timing of their re-entry. So, they have to mentally calculate it. This means if their opponent figures out their attack patterns and strategies, they can predict where they’ll reappear and be waiting with a surprise of their own.
Reflexes – a character who is gifted with powers, rather than having them naturally occur, is going to need to train their reflexes even more thoroughly for combat teleportation than the one who came by it naturally. While regular teleportation isn’t going to be much of an issue, short burst teleportation in a high stress environment where you could be coming out into an opponent’s weapon, or getting shot at range is a different beast. If teleporting isn’t a reflexive action to protect from danger that doesn’t require concentration, this is easier.
Remember, a character can only protect themselves from dangers they’re aware of. This leaves them incredibly vulnerable to weaponry, tactics, and ambushes outside their perceptions. They are limited by what they know, what they see, what they hear, and their own strategic and tactical abilities.
Don’t get so caught up in your character that you give them access to everything you know about the world they live in. You need to keep them separate from you and let them make their own mistakes. When you’ve got a character who is supposed to be hyper-competent, your first instinct might be to cheat for them. If they’re your protagonist, do yourself a favor. Don’t.
Countering Superpowers: Target the person, not the powers.
This one may seem counterintuitive, but it shouldn’t be. Counters are about your techniques, yes, but long term strategy is also about sussing out the habits and preferences of your opponent. Their strengths and their weaknesses. An army is not one person, it’s a lot of people working together toward a common goal. They have an advantage your MC doesn’t: multiple creative minds working to solve a problem. More importantly, the combat strategists and tacticians are also usually backed up a solid network of spies and informants about all the strategies/advantages their opponent has.
The longer a technique is in the wild, the more opportunity the enemy has to see it and develop counters around it. The clever enemy general will use battlefield observation and your MC as their guinea pig for developing a means to kill them.
The problem of the teleporter is you don’t know where they’re going to show up. This is true if you don’t know who the teleporter is, but familiarity breeds contempt. The more your MC participates in battles, the more familiar their enemies are going to become with their style, their strategy, their preferences, how their morals and personality quirks affect their battlefield choices. They can move quickly, yes, but they can’t take an army with them.
There are some easy counters like ranged weapons. (Can they escape a bullet, an arrow, or a cannon barrage if they don’t know it’s coming?) Martial combat is predictive by nature, put the blade where they’re going to appear and let them impale themselves (less difficult than it sounds.) Bait and bodyguards, wherein you set a rather nice trap and put everything you’ve learned about them to use. 
If teleportation relies on concentration — disrupt it. 
If the teleportation is reflexive — exploit it.
You don’t attack the powers, you attack the person wielding them. If you don’t need to kill them to achieve victory then this is even easier, all you have to do is distract them away from the battlefield. Distract them. Delay them. Feed them poor information. Lead them away from the fight so that by the time they realized they’ve taken the bait, hook, line, and sinker, the battle is over.
Your MC is both empowered by and held back by human emotion. Their feelings like fear, rage, embarrassment, hatred, overconfidence, etc, can be used against them. You need to figure out their personality flaws, and then craft enemies who can use those against them.
Don’t just think about your MC as the only target for these villains. If they’re fighting an enemy army, then that army will be interested in more than just them. Your MC is an impediment.
Your villains also need to stand on their own as strong characters. Find the internal and external antagonists for the narrative. Your villains should get just as much love, if not more love, and care as your hero. Antagonists are the backbone of the novel. Without a strong one, you’re dead in the water.
– Michi
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Q&A: The Drawbacks of Teleportation was originally published on How to Fight Write.
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larkylabs · 4 years
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Hello hello, it's been such a long time! How have you been with everything going on?
Really good, bakahimesama! 💖 Hope you are well too! ⭐⭐⭐
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ppierw-blog · 8 years
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Japanese festival drawn by me.
http://baka-himesama.tumblr.com/
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gothamcityneedsme · 3 years
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👀 Mystic Messenger 👀 Who's your favorite character? I actually really enjoy the potential personalities MC can have.
@bakahimesama oh yes I love mystic messenger!  I like pretty much everyone, but in terms of ‘favorite character’ I’d be between 707 and Jaehee, I think!
I did Jaehee’s route during my student teaching and it felt really relaxing to have someone else who was overworked to chat with, even if fictional, lol. So she holds a bit of a place in my heart for that.
707 is sweet and tragic and I love how he cares for his friends and how far he’s willing to go to protect people.  He’s Good.
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streimiv · 3 years
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Hello hello, new follower here! Came for the self aware concept, stayed because you're a damn good writer. I hope everything's going okay in your world ❤️
Oh gosh, thank you so much dear! You're too lovely and I hope things are going well for you too!
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underchara · 8 years
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:^)
O:
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Aza is the creator of humanity, and she gives up. She tried to give us food, shelter, clean water, good weather. She tried to influence the minds of world leaders to achieve peace. She went down to earth and created solutions to every single problem we faced. But we seem to be hell bent on destroying ourselves. Aza gives up, it's time for Plan Q. Limited emotions, and no free will. She'll save us, even if it means we're not "human" by the end.
Please try and limit this to one fact about your character instead of their backstory! It is unfortunately a bit hard to think of a full volley back to your fact if it’s actually multiple plot points. 
But: The reason why one of our Eldritch gods, which I’ll shorten to Tina for the purposes of brevity, came down to mess stuff up is because she didn’t like how messy humans were making her nice pretty world. 
–Choco
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howtofightwrite · 6 years
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Q&A: Breath of the Wild, Game Design, and Combat Animations
bakahimesama said to howtofightwrite:
How realistically/accurately does Link use swords/spears/greatswords/axes/bows in Breath of the Wild. I want to use his fighting animations as a visual reference for my fight scenes, but that only works if he’s a viable reference. Thank you!
The short answer: It’s not.
There’s some quick caveats, the spear usage isn’t, “inaccurate,” so much as incredibly basic. The bow draw is, “awkward;” it may be fine, but something looks off about it, to me, and, at a glance, I’m not sure what.
This is one of those times where I’ve got a vague sense of deja vu. I know I’ve addressed this with other games in the past, but I don’t remember if I’ve talked about it explicitly in the context of Breath of the Wild.
Games are, by their nature, not reflective of the real world. In some cases, you may seek to simulate elements of reality either because that’s the point of the exercise (most tabletop wargaming, and flight simulators are examples), or because you’re attempting to provide a sense of verisimilitude (weather effects that don’t affect gameplay, would be an example of this).
Game designers need to achieve many goals as part of their process. This includes reliably informing the player on the overall state of play. This includes considerations like what the other players are doing, or what options the player has to work with.
In a traditional poker game, the information the player has is restricted to the cards in their hand. They’re then asked to make assessments of the other players, and to evaluate their behavior. The state of play is the card combinations they can make, as well as the card combinations their opponents may posses.
In contrast, a game like chess provides the player with a clear, open, state of play. Both players have a clear, unobstructed, view of the board, and full knowledge over every possible move that can occur. The player is then asked to make assessments on their opponent’s potential strategies, and act accordingly.
If you’re wondering what this has to do with combat, the answer is simple, depending on your goals as a game designer, either approach is entirely valid for your game. Combat that is difficult to read, and hard to predict can create a sense of unfairness, but it can also result in far more tension during combat. In contrast, if you create a combat system that is easy to read, you can produce a more generally entertaining experience, which the player feels they have more control over.
Breath of the Wild is going for accessible combat. At any given moment you have a clear idea of exactly what the enemies are doing (assuming they’re not out of frame), and what your character is doing. This is actually accentuated by the art style, which keeps the visual noise down, and makes it significantly easier to track movement on screen. (To be clear, the art design serves other purposes as well, but we’re talking about the combat systems.)
In order to make the combat easier to read, Breath of the Wild uses very exaggerated strike patterns. This is true of pretty much all the weapons in the game. Link swings them around in massive arcs, which makes it much easier to know what’s happening at any given moment. Even with the spears, it’s taking a basic concept of that weapon, and playing it up to a borderline comical threshold.
This may sound like I’m being dismissive, but Breath of the Wild has a kind of cartoon aesthetic. There’s nothing inherently wrong with that, and if you’re going for an anime or classic cartoon infused style of violence, then the game is absolutely fine as reference material. However, an important part of taking inspiration is understanding why your subject made the aesthetic decisions it did, and what those choices mean for the material as a whole.
In the real world, combat abhors the idea of large movements, like you’ll see in Breath of the Wild, Skyrim, Dark Souls, Dragon’s Dogma, Kingdoms of Amalur, Darksiders, NieR: Automata, or any number of other action games. There’s two (major) reasons. First is inertia, and the second is because of how the human brain processes objects.
When you look around, your brain parses objects by finding the outline, and then extrapolating the object from its edges. If you remember back to Jurassic Park and the whole, “hunts by movement,” thing, that’s how some animals track objects, with humans, we’re looking for the edges and then our brain fills in the rest. This means, when you can’t clearly find an object’s outline, it becomes much more difficult to accurately determine if it’s there or not. This is also the basic issue with camouflage, the idea is to break up the silhouette, and as a result the brain has a much harder time saying, “yeah, there’s a person there.” Your brain does track movement, but finding the outline is absolutely vital to making fast assessments of, “oh, they have a sword.”
When you’re fighting someone, you want to keep your arms, and weapons, inside your silhouette whenever possible. Yes, you can see someone’s holding a sword or a gun, but it’s easier to see it, if it’s held away from the body at a clear angle.
For example: when someone raises their arm, and they’re holding a sword over their head, preparing to strike. All of the information is clearly presented in a nice, clean, profile, for your brain to parse, and it will, fast enough to respond.
When someone holds their sword, pointed at you, inside their silhouette, and prepared to thrust, you’re not unable to see they have a weapon. This isn’t some lizard brain malfunction, where, “oops, I thought they had a thing, but I guess not.” However, it’s much harder for your brain to process what they’re doing with the weapon. Again, not, “you can’t see something’s happening,” but your brain is going to need a few more moments to keep track of what’s going on, and in that time you’ve just earned a few new holes from their blade.
The other part is inertia. It’s easier, and faster, to make small, precise, movements with a weapon, than it is to make large arcing sweeps. There are times when a large swing is appropriate, particularly with axes, but even then, the way Breath of the Wild uses them is more for visual feedback than combat practicality.
I’ll say this again, there’s nothing inherently wrong with using something like this as an artistic base, so long as you’re not worried about realism. However, if you’re looking for brutally authentic fight scenes, then you’re better off looking at HEMA or classic training manuscripts.
-Starke
This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.
Q&A: Breath of the Wild, Game Design, and Combat Animations was originally published on How to Fight Write.
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gothamcityneedsme · 3 years
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I've been off this site since the 2nd, *please* tell me wth is going on.
Oh my god hahahah.  The 5th is when it started. Supernatural is on its like, last three episodes or whatever.  And most of tumblr isn’t really fans anymore? But there are still some around, and people can be kicked into a frenzy very easily. someone posted one of the most recent scenes of Castiel confessing his one-sided love to a very disgusted-looking Dean.  And, because he felt happy in confessing his gay love, he was immediately killed and sent to super-mega hell.  you know.  for being gay.
The show that was all queerbaiting ending up actually having a confession scene with this high homophobic atmosphere PLUS literally sending the gay character to hell has completely made everyone go feral.
personally, i am appalled, but im so mired in memes im loving it in a way.  this is the most 2012-2013 tumblr that tumblr has felt like in a LONG time.
also people are all anxious about the election still and are staring at georgia/nevada/pennsylvania and so breaking that up with sudden canon destiel is a huge shock to tumblr.
also there was a vague tabloid article about putin stepping down but that’s not been proven but it was still added to the pile of crazy shit that happened on the 5th.
welcome to tumblr!  we are all feral.
i’m sorry.  ive been unable to stop blogging about it because i am having the time of my life right now honestly.  im having a fucking blast.
thank you hahahah
@bakahimesama
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