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damianbugs · 3 months

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You need to tell us what you think of your favorite Bruce ships. Pls

i should preface by saying i usually prefer bruce (in my own works and others, including comics) to not be in a relationship at all because i can't think of a time he's like ever emotionally stable enough for that. like ever. THAT BEING SAID isn't that all the more reason to throw him into a ship? doomed tragic romance you will always be famous to me

and because i am insane, here are some comic recs to go with my fav bruce ships!!

>batcat

a classic favourite, batcat!!! i will admit i am not the biggest fan of their rebirth stories, and the whole wedding fiasco and most of what tom king wrote about them (and in general) was. not enjoyable. but pre crisis/golden age batcat? MY PARENTS. just. silver and bronze age batcat too. what a refreshing and entertaining couple. the thing that really makes them compelling is at the end of the day they have the same goal; protect the people of gotham. the ways they go about it can be different, and selina especially faces some serious mischaracterisation in order to make bruce look like the "hero" in the relationship, but at their core and simplest expression of love, they share the same dream, and they both know that. it's this selflessness that connects them deeply.

> "The Autobiography of Bruce Wayne" (Batman the Brave and the Bold #197) is, in my opinion, essential batcat reading. a very bittersweet story!

> for a more modern read, "Only Takes a Night" (Catwoman #32) is a delightful read about how hopelessly in love they are. bruce is such a devoted loser.

> ghostbat

every character needs that one irreparably damaging young adult tragic romance that changed their life forever and that is what ghostbat is. khoa is the perfect foil to bruce, in that ultimately, they are two ends of the same spectrum. fiercely stubborn and confident in their own moral code but in the opposite way. this ship is particularly fascinating because even now, the respect and love they have for each other years later is so deeply consuming that it is prevalent in how they interact now. i don't think bruce would have been the person he is without his relationship with khoa pre-batman, in both a good and bad ways. i also really love the hc that khoa is bruce's first heartbreak (refer to: the Snow and Gun incident).

> "Batman The Knight" is like ghostbat religious text. this is all you need. let it destroy you.

> batlantern

no long paragraph about this one because its my silly guilty pleasure. sometimes u need a ship in which they just don't get along except for the times they do. hal brings out such an irritating (said fondly) side to bruce and its even funnier because it works mutually. i think another really wonderful thing about this pairing is that they are really not so different from each other (nothing says romance than being consumed by your guilt and stubbornness), but they both think otherwise, so they knock heads while also begrudgingly respecting about one another in a colleague-friend-crush way. they want to make out so bad it makes them look stupid.

> "Batman: Universe" is a great and short silly story that shows their dynamic really well. amused me greatly. not ship focused though hal is there for like. a single issue unfortunately. but fun!!

> i usually never recommend any new 52 books to get INTO a character, but if you're interested in this pairing and its most 'popular' fanon interation, then "Jutice League (2011)" is the best place to start. you can get to their better stuff afterwards! (there's also an animated movie about it!)

> brutalia

AND BEST TILL LAST. THE BRUCE SHIP OF ALL TIME. ruined my life. CHANGED my life. i wish i could explain how insanely important this relationship is in words. i love my pairings tragic and there is quite literally no other ship quiet as dramatic or poetic than brutalia. talia is often seen as bruce's "one true love" with great reason, and him hers, and despite that they will probably never actually get back together. in a wider lense, the al ghuls and bruce have an insanely complicated dynamic, and this inherent conflict about missions bigger than themselves makes brutalia's forbidden love drama all the more compelling. talia brings out the best in bruce, and bruce respects and loves talia in a way i don't think he does anyone else in his life.

to complain for a moment, it's no wonder that because their relationship (since it's very first introduction) was so irrevocably pure and consensual (they were both so ridiculously obsessed with each other), that Certain Writers had to pull out the most out of character and disgusting stories to make it clear the tone of batman was changing. talia is always a victim to racism, misogyny and just unbelievable ooc writing — most evidently in her stories with bruce, unfortunately.

AND YET. recent comics have realised how truly ridiculous it is to write her as anything but kind and strong, and bruce being anything but hopelessly infatuated. i think my favourite thing about brutalia is that bruce and talia is a relationship that has been separated for actual Decades and so both their characters have been developed to have their own tragic stories and growth. then when we get small moments that bring them back together and letting that past show through the cracks in their carefully constructed walls, it's all the more romantic.

beautiful heartbreaking ship. the kind of relationship historians would cry over. would have the romantic period publishing fifteen books over.

> "Batman: Son of the Demon" is ESSENTIAL brutalia reading. also, if you are insane and delusional enough, it can be the true origin of damian.

> the comic moment that inspired all romance the moment of forever the blueprint even is in the famous "Batman (1940) #244"

> for a more modern take, very recently in fact, is her appearances in Ram V's run of detective comics, starting from #1062. its not brutalia focused, but a great take on how natural and yearning their relationship is now.

#for a guy who is notoriously shit at relationships he sure does find himself in them constantly #but truly is there a single fail loser man that yearns as much as batman #bruce wayne #batcat #ghostbat #batlantern #brutalia #saki comic talks

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writingquestionsanswered · 1 year

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I plan to write a story about heists, often from the point of view of the investigators' side, but I don't know where to start (or at least, my brain cannot make anything as interesting as I see in the media). Is there any advice on how I can plan it? Thank you very much!

Writing a Heist Story

A Worthwhile Score - The most important thing you need for a good heist story is a worthwhile score. What is the object/thing they're after and why is it important/valuable? How can everyone in the crew get a cut of this object/thing? What makes this thing valuable enough that it's so protected/hard to get in the first place?

Stakes - The second most important thing you have to establish is why the heist is taking place and why it matters. What does the heist crew stand to gain if they're successful, and/or what do they stand to lose if they're not? In Ocean's Eleven, Danny stood to win back his wife's affection while ruining the man who stole her from him. If he failed, not only did he not achieve either of those things, he also risked losing everything by going back to prison.

Sympathetic Motivation - If you want the reader to root for the heist crew, you need to make sure they have a sympathetic motivation--or at least one the reader wouldn't disapprove of. For example, in Ocean's Eleven, the heist motive is revenge against the guy who stole Danny's wife, so not the most sympathetic cause, but not a despicable one. And when we see that Benedict is a jerk who doesn't even treat Tess well, and that there's still something between Danny and Tess, we're able to root for him.

A Solid Crew - Another important element of good heist stories is a solid crew, meaning each member of the crew has to have a solid reason for being there. That means they need to play a vital role in the heist by providing a vital skill no one else can provide. They also need to have a believable motive for wanting to be part of the heist, especially if they're not being hired or rewarded with a large sum of money. And finally, it's nice to give each crew member a compelling personality, interesting characteristics, and unique relationships with other crew members.

A Complex Scheme - If your characters are trying to steal a piece of art from a museum, they can't roll up on the museum, break a window, knock out a guard, disable the alarm, obscure a camera, take the piece of art and off they go. That's too easy. Anyone could do that. There needs to be big, seemingly insurmountable obstacles that only the skills of the unique crew can overcome. Like, instead of breaking a window, one crew member's unique knowledge of the tunnels beneath the museum could get them in--but only if they can avoid detection from the night crews who work in the tunnels. And instead of knocking out a guard, there are several guards, and only the super stealthy wraith-like martial arts expert can do it without being caught.

A Backup Scheme - The one thing that's true about complex schemes is they almost always go awry. That said, you need to figure out what goes wrong, why, how it affects the original scheme, and how they re-route in the moment to get things back on track. Really good heist masterminds will have a Plan B and Plan C, but even these won't be without their kinks. All of these unforeseen pitfalls, unexpected obstacles, and potential failures keep the tension high and make things interesting. Watching the crew deal with things when they go off track is part of the fun of heist stories.

I hope that helps! ♥ •••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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yuikomorii · 7 months

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OMG HEAVY ONE THE "...continuing to say such stuff will only irritate them even more. >_<" There are several points in each of the diaboys routes were Yui could've left them alone and be good for that day but noooo ( ｡ •̀ ᴖ •́ ｡) for example in Kanatos HDB Dark prologue this man literally wanted to be left alone in peace to look at the rain but then Yui comes in trying to make conversation he keeps the conversation curt then she offers to make him a drink then he proceeds to pour the hot drink on her hands 😮‍💨. Also for clarification I understand it's for the plot and that those scenes are just to demonstrate that Yui is kind person who's always concerned for others but at the same time YUII THEY'RE VAMPIRES (also I dont condone victim blaming sorry if it came off like that!)

// I suppose they wrote her in HDB like that only for the sake of DO-S interactions, even if Yui ended up getting the short end of the stick. While it’s true that you have to leave people alone when they tell you to, most otome heroines have plot armor so no matter how bad their choices are, the players know that they can’t be killed outside of the bad endings.

I admire her strength and compassion in HDB and MB but I feel that her character has progressively devolved? Don't get me wrong, I still adore her, but the narrative continues forcing her to make really alarming statements or take concerning actions. It’s not necessarily Yui’s fault, she’s just a fictional character after all, but the writers are to blame.

LE Yui was… something else for sure. Ruki’s LE route could have been the perfect chance for the Mukamis to let go of the Karlheinz fanaticism and continue loving one another as a family but nooo, after finding out that Karl committed a Romanian genocide, Yui had to make him look like their savior instead.

Credit to: dialovers-translations on Tumblr

No girl, you’re not doing any good to the Mukami brothers like that, you’re just feeding into their delusions…. Karlheinz never felt bad for any of his actions (otherwise he would have rewinded time) and he merely used everyone for his plan. They deserved to know the truth about him.

Another scene is from Ayato’s LE route in which Yui goes to Ruki and Reiji, who are their ENEMIES there, and is like: “Ayato-kun is feeling lonely 🥺” but ends up getting made fun of and bitten by Reiji. I get that she was trying to help but not only did she put herself in danger but I also can’t believe she genuinely thought Reiji and Ruki would care about Ayato feeling down when she was supposed to know their personalities already. On top of that, the fact she went there all alone without telling Ayato, made him get mad at her, given that he felt abandoned and wasn’t expecting her to suddenly return bitten by someone else. Honestly, he absolutely ate when he told her this:

This one isn’t from LE and I defended her here at some point but this official short story takes place after the DF good ending and… why would you remind him that he got the cursed powers of the person who ruined his and everyone else’s life—?

Credit to: Koiiro on WP

Look, Yui is a wonderful person who never means any harm and she doesn’t deserve the hate, since she’s a victim too, but she (and everyone else) definitely deserves criticism or being scolded in certain situations. You can be kind but still be cautious with whom you share your kindness and when it is appropriate to do so.

#admin

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queer-ragnelle · 22 days

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Hi! I hope I do not bother you, but I'd like to ask a thing (if you already answered this in another ask I'm sorry) because you seem to be the most qualified person to answer. In a retelling, when how much is too much changing? I am writing two whole Arthurian fics and while I mostly mix and match from different versions there are some things I fully changed (one of the most egregious, for example, being Palamedes dying early in Post-Vulgate fashion and Safir as the one who slays the Questing Beast and the killing being an expression of vengeance instead of newly-found peace despite this definetely not being the case in the original text). I think what I changed works better for plot reasons but I am a bit uncomfortable with it, especially when it comes to characterization. But on the other hand there are so many different versions that I find it hard to say if I am ruining it or not because even in the canon plots and characters' personalities change a lot but I don't want to do something that ends up being "in name only". When is too much too much?

Hello! I don't know about being the most qualified person to answer, but I can certainly give you my answer! I've explained this a little bit before here and here, but can elaborate again for you, especially because I think those characters and that text in particular should be handled with care.

Before you determine what amount of reinterpretation constitutes the right balance, pause everything, and pinpoint your audience. Are you writing fanfiction for your own self-fulfillment and enjoyment? Maybe also for a handful of friends who share your ideas? In that case, there are no rules, do whatever you want. That's your space, your story, and you bear no responsibility to uphold some unquantifiable standard of characterization "accuracy." Fandom is your sandbox and you can build whatever castle you want! Be free!

The next thing to determine is what characters you're changing and why. Not all changes are created equal! For example, if you wanted to absolve Arthur of the May Day Massacre to write a more honorable King, it's not all that drastic a change. There are many texts, old and new, in which that narrative beat never occurs. If noble Arthur serves your story better than morally gray or evil Arthur, and it can be done without compromising the Arthurian fabric from which you sample, go for it. Alternatively, if you decided to incorporate additional violence into the story, especially if attributed to a character who had not previously done those things (such as rapist Gawain, ie, inverting his Maiden's Knight role he's known for), you're going to have a harder time selling the reader on it. Generally speaking, a positive or neutral change will always be easier to sell than a negative one.

This is especially important if you intend to publish something you write for a broader audience. That's a different matter, in my opinion. In that regard, the thing you create is contributing to an Arthurian body of work that's meant to stand on its own. Fanfiction exists in a writing niche which assumes a base knowledge from the reader, you may not necessarily explain what Camelot is, or what chivalry means, or who Palomides is. That's fine and dandy. It's for fun!

But with a published book standing alone on the shelf, the author is expected to establish the framework of the world their story takes place in. That may or may not align with "canon" and therefore maintain or depart from the expected. This is where your decisions as an author matter. While Arthuriana is anachronistic by design as a literary tradition that's evolved alongside its authors, the moment you decide on an era to write in (if you put a year to it or imply one based on what historical aspects emerge), you now bear responsibility to depict that as accurately as you can. Even if it's a mishmash of "Medieval" spanning a few centuries, it should still bare resemblance to the era. Particularly in our current political climate with constant misinformation and even disinformation spreading, it's important to do the research necessary to create something genuine so as to avoid misrepresenting the past and the people in it. For example I think it would do a disservice to an Arthurian story to ignore religion, particularly one about Palomides or his brother Safir. To write them as areligious is to ignore the role in the Arthurian narrative they were created for. They're Saracen, (even if Palomides converts in some versions), and to ignore the way religion and race interconnect in Medieval society would be disingenuous.

[Idols in the East: The Saracen Body by Suzanne Conklin Akbari]

And, more to your point, that aspect informs character. The stories define Palomides by his religion, by his race, and how that impacts him in the face of a rivalry with Tristan, a white Christian, for the love of Isolde, another white Christian. This isn't to say that you're obligated to depict racism, or to put the characters into situations that oppress and hurt them, but to write something "race blind" is to erase the character's identity, and that would be too great a change, for me personally, to get by.

That being said, if you're writing in 6th century Britain, your research might lead you to think, "Hey wait a minute, Islam doesn't exist yet! But Palomides and Safir are written as Muslims, so how can I stay true to both the era I'm writing in and the characters if that anachronism is built right in?" Well, that's where you have wiggle room to be creative! Perhaps they're Zoroastrians or follow one of the many Berber religions that existed at the time. Even Tristan could reasonably be written Pagan in this era, as he has in many retellings before you sent this ask. Maybe Tristan's Mithraic or Druid or Jewish and that in and of itself helps mitigate some of the tension between the characters as neither are Christian. All of this should be handled with great care, of course, but the point is that there aren't really straight answers about what changes are worth making.

Your discomfort in this isn't unjustified. I've been there. But it doesn't mean you're doing anything "wrong." It's not a crime to conceptualize changes. I had a lot of anxiety writing Ragnelle and her brother Gromer as Zoroastrians. But I went on to find an editor who studied the religion, and asked my Zoroastrian mutual for help, who put me in touch with a practitioner that agreed to beta read my books and inform me on my handling of it. There's no perfect story, but all you can do is give it your best effort.

I don't think it'll benefit you to worry about "ruining" the story with changes such as Safir pursuing the Questing Beast. That sounds awesome! And your plan about vengeance is baked right into the source material, as the Post Vulgate indicates that QB had killed all of Palomides's brothers before he finally defeated her, so your story has some textual basis in a medieval source. (Not that you need it to be "allowed" to write that, but it may help your anxiety to know!)

[Post Vulgate Quest for the Holy Grail: 87. Galahad and Bors Chase the Questing Beast and Meet Palamedes and His Father, Esclabor the Unknown.]

One other thing I'll point out is choosing the language you use matters a lot. You can have some characters behave a certain way toward Palomides or Safir or this "futile" quest that resembles historical prejudice while utilizing word-choice throughout that signals to the reader you, the author, know what you're doing and understand the nuances at play. Reading broadly will help you with this so much. Not just non-fiction for your research, but other Arthurian retellings as well. I personally didn't love Persia Woolley's handling of Palomides in her Guinevere Trilogy. He was referred to as "the Arab" throughout which seemed like a "lesser evil" placeholder for "the Saracen." It's usage acted as a generalized umbrella term to other Palomides and didn't indicate his area of origin beyond constantly reminding the reader that he wasn't white. (Whereas Gawain was "the Orcadian" and Lancelot "the Breton," which differentiated their white cultures from one another while homogenizing Palomides with every other Eastern person in the story as a monoculture.) Furthermore, many characters were afraid of him (I mean literally making the sign of the cross and hiding when he walked in the room), which isn't consistent with a Post-Roman Britain, in which the population would have been mixed. I prefer the handling of Numidian Sagramore in Bernard Cornwell's Warlord Chronicles. Sagramore, as a Black man, is a part of Arthur and co's community, even if the Saxons themselves are unnerved by him. He's respected by the narrative. It's usually better to be specific (Numidian Sagramore versus Arab Palomides) particularly if that character is a minority and the word is leaving the mouth of a white character. This article discusses this aspect at length and really eased my own concerns depicting these characters and doing them justice.

[Saracens and Black Knights by Maghan Keita]

Here's another example of generalized versus specific language.

[Sword of Lancelot 1963: Merlin refers to "the Orient."]

[The Adventures of Sir Lancelot 1956: Merlin refers to "the Iberian Peninsula."]

So in my opinion, as long as you don't white wash Palomides or Safir and avoid writing them as "exotic" or "mysterious" or in some way barbaric in the pursuit of the Questing Beast, you're fine. Even in La Tavola Ritonda, Percival pursues QB for a time before Palomides picks up the quest, which is the opposite order in which that occurs in Post Vulgate where Percival and the other grail knights assist Palomides to defeat her at the very end. Many versions don't maintain the incest-monster aspect of QB from Post Vulgate either, like in Perlesvaus or Moriaen, she's just a monstrous creature and that's sufficient to tell the story the author has in mind. Even from a characterization standpoint, Malory wrote Palomides as volatile and melodramatic, having fits in the woods over his grief from which only Tristan could coax him out of, where in La Tavola Ritonda, Palomides is mostly chill and sweet, to the point Dinadan teases him for being a push-over haha! In regards to Safir, there's far less textual source material to base him off of than Palomides, so you have even more creative freedom! Literally the spectrum is so vast you can pretty much characterize however you desire if you keep in mind what the core of the character is and why that's important to their identity and the historical significance of that identity. (Even if it's something you have to bulk up, such as you will for Safir.) If you're ever unsure, it's never a bad idea to ask! Plenty of historians, or medievalists, Arthurian enthusiasts, or people of different cultures would love to discuss this subject. You might have to dig a little, but I can't imagine it'll be harder than my search for a queer Zoroastrian beta reader willing to read a trilogy-length Wedding retelling haha! It'll benefit your writing to submit to the mortifying ordeal of being known so others can give you feedback. Share some passages with a trusted few and gauge their reactions. Read what other people have done and take notes about the way they chose to characterize Palomides or Safir—did [aspect] resonate with you? Or did [aspect] ring false? Exploitative? Hollow? Why? Then step back, take another look, and go from there. It's about vibes and can't be defined, but you'll know when you know.

Hope this helps. Good luck and have a nice day!

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theycallmebecca · 1 year

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18+ Drabble: The Great Tease

A few days ago, I was inspired to write a thirst trap story, but with a twist and that's what this is. I made a moodboard and I used photos I found here on tumblr and shared with friends in a discord, but that means I don't remember which blogs the photos originally came from...

Title: The Great Tease

Pairing: Andy Barber x female reader

Rating: R

Warnings: suggestive, fade to black sex scene

Disclaimer: This work of fiction is not to be reposted, used or translated without my permission.

18+ Disclaimer: This work contains sexual material that is for those over the age of 18. By clicking the keep reading link below, you are agreeing that you are over the age of 18 and are not offended by sexual content.

Usage Disclaimer: This work is for fans only. This author does not give permission for it to be shared, spoken of, referred to in any public manner (podcast, tv, online, etc.) that wants to either make a celebrity uncomfortable, mock fan fiction/fandom in any way, or the author themselves. Requests can be made, but it is unlikely the author will change their mind. If no response is given to a request then the answer is a solid no, not interested and the work cannot be shared, spoken of or even referred to, regardless of the manner or context.

“Have fun this weekend,” you said to Andy before you kiss him goodbye.

“Ugh, come on, you two,” your best friend said, feigning disgust. “Save something for the honeymoon.”

“Go wait in the car,” you told her with a laugh. “I’ll be out in a minute.”

“Fine, but I’m setting a timer for five minutes,” she said before leaving with your bags.

“What are you doing this weekend?” you asked Andy.

“Just hanging with the guys,” he replied with a shrug. “Probably play some golf, maybe some video games. I’ll definitely be available for anyone who needs to escape…”

“She’d kill us both,” you said with a laugh. “And killing the bride and groom during the bachelorette party would probably ruin the wedding…”

“LET’S GO!” your friend yelled from outside.

“I’ll text you when we get in there,” you told him then gave him one more kiss before you left.

“About time,” your friend muttered.

You stuck your tongue out at her then got into the car.

It wasn't until the two of you arrived at the rental house and you grabbed your phone to let Andy know that you were there, that your friend said, "This is a no boys allowed weekend. That includes texting."

"Just let me tell him that we got here, I promised," you told her.

"Fine, but I'm warning you right now, if he texts you at all while we're here, you're showing it to all of us," she stated. "No matter what. And no warning him, either."

You shook your head and sent Andy a quick text:

Here. Have a good weekend! 😘

Then you showed it to your friend. She nodded her approval and then the two of you got out of the car.

—------

"I know this was meant to be a girls' weekend, but I'm surprised I haven't gotten a single text," Andy said, later that evening as he and his friends had dinner together.

"Maybe we should text them and make sure they're ok?" one of the guys he didn't know as well said.

"I wouldn't do that if I were you," your best friend's husband said.

"Why not?" one of the others asked.

"What do you know?" Andy asked, narrowing his eyes.

"I overheard my wife on this phone this morning," the husband explained. "If anyone, but especially you, Andy, sends a text while they're at this thing, it's getting read aloud and shown to everyone."

"Even dick pics?" one guy asked, nervously glancing at his phone.

"Anything that is sent from the moment they arrive to the moment they leave," your best friend's husband stated. "So be careful what you send."

After dinner, Andy went back to the house with your best friend's husband and another of their mutual friends, who were crashing at the house since they lived out of town.

"Your wife doesn't know you know, right?" Andy said as they drank beers.

"No, I didn't say anything to her about it, why?" the husband asked.

"Because we could have some fun with this," Andy said with a smirk.

"I'm not showing my junk to all those crazies," the mutual friend stated.

"We're not showing junk to any of them," Andy agreed. "But it doesn't mean we can't take some staged photos and send them to them. Think thirst traps."

"But won't it be suspicious if we all do them?" the husband asked. "Maybe it should just be you."

"I agree, it should just be you," the mutual friend stated with a laugh. "It will get the best reaction."

"Fine, you chicken shits," Andy said. "But I'm going to need help taking the photos."

————

The first text came as you, your best friend and your three bridesmaids were getting ready to play a game.

At your best friend’s insistence, you’d all changed your text alerts to be something different so it was easier to tell them apart. You and the others had overruled her idea, however, that the person receiving the text couldn’t be the one to look at the phone.

“That’s you,” she said, smugly.

“I know,” you replied as you got up to get your phone from where they sat on the counter. Looking at your phone, you saw that Andy had sent a photo and found yourself grateful that the majority had overruled the dick pic sharing rule, too. Meaning no dicks would be exposed.

Going into your messages, you nearly choked when you saw the photo Andy had sent you. It was just his bare pecs and torso, but it was a close up, showing off all his muscles.

“She definitely got something good,” one of the others cackled.

“Come share it with the group,” your best friend said with a smirk.

Grudgingly, you handed her your phone and they all leaned in to take a look.

“Hot damn,” one of them said while another whistled.

“I knew he was hot, but lucky you,” another said, winking at you.

“Ok, enough ogling my future husband,” you said, grabbing the phone. “We have a game to play.”

“Fine, but you aren’t allowed to text him back,” your best friend reminded you.

“I know,” you replied though you were suddenly wishing you were at home with Andy and his muscles instead of with your friends.

Hours later, a second photo came as you all were getting ready for bed. This photo was of Andy in bed with a picture of his torso and half of his hip 'V' on display with the rest of his lower body hidden under the sheets.

“Are you sure we can’t call our partners?” one of your friends asked after passing the phone.

“No boys allowed!” your best friend stated.

“She’s just jealous 'cause her husband doesn’t look like that,” another muttered as she looked at the photo a little too long for your liking.

Once you had your phone back, you gave it a last, longing look then locked it for the night, thankful that each of you had your own room.

The third and fourth photos were waiting for you when you woke up the next morning. One was Andy standing at the kitchen island, coffee cup on the counter and his hoodie unzipped showing his entire torso. The other was Andy with his back to the camera and only wearing an apron with the top of his ass showing.

“I don’t know if I can look Andy in the eye anymore,” one of your friends said. “Not after these thirst traps.”

“Did you tell him?” your best friend asked, looking at you.

“When would I have told him? You only let me text him once and that was to let him know we were here,” you replied. “And you read that message.”

“You told me on the phone the other day,” another friend spoke up, looking at your best friend. “Did your husband overhear? He’s with Andy isn’t he?”

“I’m going to kill him,” she muttered and reached for her phone.

“Uh huh,” you said, grabbing it with a grin on your face. “No boys allowed. Your rule.”

“Your future husband is sharing all his goodies,” she replied.

“Not all of them,” you stated. “Besides, it’s kind of fun. They think they have one over on us.”

Your phone dinged at that moment and you opened it and your jaw dropped. Andy was wearing his wedding tux with the shirt completely open and he was stretched across the bed, showing off his torso.

“Fuck,” you muttered when you could finally think again. You looked up at your friends and blinked, once again wishing Andy was nearby to jump.

“Distance makes the bride to be hornier,” one of the girls teased.

You flipped her off and placed the phone on the table for them all to see.

Five additional thirst trap photos were sent to your phone during the remainder of your girls weekend, each of them highlighting Andy’s torso and/or arms and proving that Andy knew just which parts of his body you liked the most.

You were so turned on by the photos that you didn't invite your friends and their significant others to have dinner with you and Andy like you had originally planned to. Instead, you had practically rushed them all out of the house, upon getting home, then turned to your future husband.

"Strip," you ordered him.

Andy's eyebrows shot up and then he grinned. "You did get the photos then," he said, obviously pleased with himself.

"And we figured out that you knew about the no boys allowed rules," you replied, crossing your arms over your chest. "Now stop stalling, hot stuff, you showed off all weekend and now I want a taste."

"As you wish," Andy said, simply.

Then took his sweet time undressing, which you normally appreciated, but your desire had been building for nearly two days. Yes, you had masturbated last night in the shower, but that wasn't the same as being with Andy.

After what seemed like forever, he was naked before you, partially aroused.

You'd planned to play with him a little, but you needed him sooner rather than later. You quickly removed your clothes and then closed the gap between the two of you.

"Remind me to torture you a bit later," you said to him before you pressed your lips against his.

"Will do," he whispered against your lips.

Then he made love to you.

#theycallmebecca #theycallmebeccawrites #Andy Barber #Andy Barber fanfiction #Andy Barber fanfic #Andy Barber fan fiction #Andy Barber x you #Andy Barber x female reader #Andy Barber x y/n #becca writes 18+ drabbles

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beeindaclouds · 2 years

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Hellooo, do you do Modern AUs? If so, can you do a Techno x Reader in which the Reader moves next door to the SBI household, and he develops a crush for her? (And how his brothers tease him for it LMAO)

[It’s fine if you don’t wanna do it btw! Hope you’ve been doing well, and remember to drink lots of water! :D]

Hallo, thanks for watching!

I've actually never thought of making a modern version of C!DSMP, but I honestly don't mind

Hope you enjoy <3

Being neighbors w/ ModernAU!C!Technoblade

Disclaimer: Tommy is just mentioned in the scenario, this is in no way a Tommy × Reader fanfic

Click Here before requesting, please ^^

Reader: GN - They/Them

[Phil, Techno, Wilbur, Tommy]

"Our neighbors have invited us to dinner since they just moved in. Remember be kind and behave, Tommy"

"WHY ONLY ME? WHAT ABOUT WILBUR?!"

"I can act like a gentleman, unlike you little baby bro."

"Are you sure we need to bring these two? They're gonna ruin everything..."

"TECHNO!"

Yeah, it really wasn't in Techno's plans to go out this evening

It's never in Techno's plans to go out

He likes staying inside, with a book about greek mythology, and a nice cup of coffee just so he can stay up longer

But nope, today he had plans.

He didn't see much of the new neighbors

Phil talked about them a bit, at least enough to know that they're a lovely couple who also happen to have a child around Techno's age

He knew that the information told to him was a way of Phil telling Techno to make friends his age, but like always he had no interest

At least that's what he thought.

Once they ringed on the doorbell the door was opened by what, presumably, was the child of the couple

For the first time in his life, Techno could say that he was speechless

The person in front of them had such a kind aura around, a nice smile and a good sense of fashion if Techno could comment on it

But that's was just first impression...right?

"Oh! You must be the neighbors, hello!"

GOD THEIR VOICE, HOLY-

Techno was panicking. Literally.

And it unfortunately didn't go unnoticed to his two younger brothers, who couldn't stop sharing looks every now and then

The dinner went fine

Phil and Mumza had a wonderful conversation with your parents

While the other three had fun talking to you

They also subconsciously started taking a liking to you

Tommy enjoyed the fact that you would listen to him and actually acknowledge him without letting the age gap between you two influence the conversation

Wilbur loved your sassy comments and knowledge about geography and music

But you seemed to have hit it off with Techno the most

You two talked the entire evening about history, books, greek gods and their past stories; you two could've have kept on talking all night

But unfortunately it was getting late for all of you

While your parents were having their last bit of conversation with Phil and Mumza

Tommy and Wilbur decided to cause a bit of...chaos

Well, more like embarassement

"So, Y/N, do you have a boyfriend?"

"Wilbur-"

"That's a bit forward isn't? But no, I don't"

"Do you like men with pink hair?"

"What about muscles?"

"Stop"

"Maybe someone who can use a sword?"

"He likes greek mythology too!"

"Bruh..."

"He's a great cook!"

"You don't even have to do chores"

"OK ENOUGH YOU TWO. Out."

Techno had to physically push them out of the house; his face now red and hot

How could they embarass him like that, goddamit.

"You're brothers are... something"

"Yup...they really know how to make you wish you were an only child"

You laughed

God even you're laugh had Techno's heart fluttering

How could someone he just met be so, perfect?

"You know I wouldn't mind getting to know this pink haired men they were talking about"

"HUH?! I mean...yeah sure"

The tips of his ears were now visibly red, which he was silently cursing at

But hey, he got a date out of it so

Maybe it wasn't so bad to have plans once in a while

#dreamsmp #dsmp #mcyt #dream smp x reader #dsmp x reader #mcyt x reader #technoblade #technobladeblurb #technoblade x reader #beeblurbs

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alwaysmicado · 12 days

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https://www.tumblr.com/free-my-mindd/746081775532605440/chris-mc-geown?source=share <- this is the link i supposed to add in previous ask but dunno why disappeared (i still can't figure out how to add a link in the ask 🤦🏻‍♀️)

read the latest part. my logical side told me that torturing joel somehow means torturing our baby reader, HOWEVER, my rage keep screaming that DON'T LET THAT FUCKER EXIT SO EASILY PLSSS. (of coz i well believe you will keep developing about reader's mind tht this chapter's ending doesn't mean the cloud is cleared or joel is forgiven.) he definitely has not sufferedorry enough. (or will there be a joel's POV chapter to let that fucker explain himself?)

what can i say about tommy? i thought their relationship is so unbelievable (in good way). where would the world got a married guy that still care a girl enough that pick up drunk/cry-call in the middle of night and not hang up? (or my friends are just too shitty 🤦🏻‍♀️) hope i didn't get it wrong from this chapter, besides the common ground from their traumatic history, tommy is just an extremely sweet guy? stupid question here - they seems cleared the prospect of romantic involvement but still able to keep a close relationship. <- i should get this from this chapter or that will be further flashback about this?

thanks so much for your great work and patience to read my rambling 💛

Hi Rachel 😍 Oh yeah, this quote fits reader perfectly:

there were two reasons I was scared to let people in; the damage they could do, and the damage they could find.

After Sunshine, @witchofthedeepwoods was also saying that Angels Like You by Miley Cyrus reminded her of reader and I couldn't agree more!

It's not your fault I ruin everything And it's not your fault I can't be what you need Baby, angels like you can't fly down hell with me I'm everything they said I would be

About Sink or swim:

he definitely has not sufferedorry enough. (or will there be a joel's POV chapter to let that fucker explain himself?)

First of all, you calling Joel a fucker is so damn funny to me, I dunno why 😂😂😂

Second of all, YES! The ending doesn't mean it's all resolved. Not at all. It just means that she's finally ready to be honest with herself, with Joel, and also with Tommy (since he knows now anyway). I guess we'll have to see if Joel makes the right call in the next part and is able to reassure reader somehow that he really is serious about her 😌. What I have planned for sure is to write out the confrontation between Joel and Tommy. I dunno yet if I'll post it separately or within the next part, but it's coming.

hope i didn't get it wrong from this chapter, besides the common ground from their traumatic history, tommy is just an extremely sweet guy? stupid question here - they seems cleared the prospect of romantic involvement but still able to keep a close relationship. <- i should get this from this chapter or that will be further flashback about this?

I think Tommy sees a lot of himself in reader and that's why he understands her so well. And she is comfortable with him 'cause she really feels like he does understand her without judging her. Plus, he's proven over time that he won't abandon her, and that's also huge for her.

At this point, their relationship is platonic and they both appreciate it for what it is. I'm not gonna tell you if that was always the case or if they had more going on after their first night (or even what happened there exactly). Maybe I will some day, but for now, you're free to imagine whatever you like 😋.

I could imagine that Joel's got his own thoughts/questions about their relationship though hehe. But, as @pattwtf and I discussed, I'm positive that Joel honestly wouldn't care either way.

Thank you for reading my story and taking the time to share your thoughts!! It's so much fun and I appreciate it a lot! 😍 Have a wonderful day! 🤍

#ask #fwb!joel miller x f!reader #fwb!joel miller #joel miller x f!reader #series: you wanted this #lovely people 💕#thank you for reading!! <3

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cfr749 · 2 months

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I totally, totally agree with your view of their relationship. The Barnes episode is one I can’t watch and I just pretend it doesn’t exist. The whole situation with Chris and Ashley was just…unnecessary and written horribly. I feel like Tim treated Lucy better when he was her TO and respected her and didn’t treat her like a child which is mainly what he does now. He became more patronizing AFTER she was no longer his rookie. Additionally, he didn’t say anything after Lucy told him he would do great in Metro - just gave her a half smile and left. He acted like a teenager during the Valentine’s episode when he gave her the silent treatment when he found out she did the five-player trade. And it ended with LUCY apologizing and Tim never once apologizing for his immature behavior. He also treated her horribly in the episode when Isabel came back. He invited her to LUCY’S apartment without asking Lucy, gave her a half-hearted apology only when Isabel was AT THE DOOR and then proceeded to joke around with his ex-wife ABOUT Lucy and IN FRONT of Lucy and then regressed to his TO voice with his “Chen!” later at the station, right after making fun of Lucy trying to help him relax. Like, hello, that’s your girlfriend! Why are you snapping at her when she didn’t do anything??? Chris was absolutely a shitty partner but Tim is a becoming a very, very close second. He treated her better when she was his rookie and especially before they dated. And im so bummed about it because I had such high hopes but the way they write Tim’s character is just ruining it for me.

Hi anon!

First off, I'm glad you got to get all of that off of your chest 😂. I know how isolating and frustrating it can be to have all of the feelings about choices the show is making, but feel like you can't share those frustrations without pissing people off or experiencing backlash. So while I can't control anything other than my own response, I'll just say, you're always welcome to vent to me!

I'll be honest and say I didn't notice / react to all of the things you mentioned in the same way, but I can see your points and understand why those moments may have rubbed you the wrong way. Especially since, like I mentioned in my last post, the issue isn't any 1 isolated incident. The issue is a repeated pattern in the storytelling and messaging.

Something I want to be clear about before I go any further though:

This is not about my head canons or what I'd like to believe the writers were trying to convey.

Of course I think the idea of Lucy liking Tim more than Tim likes Lucy is ridiculous. That's why I can't figure out what on earth the writers were doing.

Of course I don't hate Tim (I literally could never!!) --- I love both of these characters deeply, and close to nothing excites me more than the idea of the two of them falling in love.

This is specifically about choices the writers made and what we actually saw unfold on our screens.

And if my takes seem to be more pro-Lucy, that's specifically because, IMO, the way the story unfolded was much more favorable to Tim that it was too Lucy.

Which isn't even surprising. Women often get the short end of the stick. Women of color almost always do. And that is literally the entire point of why this conversation is important. It's why shrugging off repeated instances of Lucy's character being eroded in service of the ship or maybe just as a result of the thoughtlessness of the writers really bothers me. It's why I'm not the only one who feels this way.

So, anon, for now, I'm just going to dig into the first item you mentioned as one of the first examples of this pattern -- the Katie Barnes of it all (sorry Katie - you were lovely - I promise it's nothing personal 😂). Setting aside the confession prank in 3x09 (which is it's own essay), this was the first time I started to really question the direction the show was going with making the ship canon. At the time, I hoped it was a blip, because we all remember that look in 3x14, and... yeah.

I believe this was the first appearance of jealous Lucy. And don't get me wrong, I have no problem with using jealousy to tell a story -- as long as it serves a purpose and as long as it's not completely 1-sided.

But instead of moving Chenford forward, this actually moved them several steps backward for me.

Like you mention anon, in seasons 1 and 2, despite Lucy being his rookie, I felt that they were very much portrayed as equals. They helped each other in different ways. I’d argue Lucy often showed she was more emotionally intelligent than Tim and used that to help him navigate through the end of his marriage, and Tim obviously poured everything he had into getting her as ready as she possibly could be to move on to the next step in her career.

But this scene in 3x11 managed to re-assert the Rookie - T.O. dynamic in a way that slapped me harder than any moment when he was actually her T.O. -- asserting Tim's view of Lucy as someone he needed to teach not how to be a capable police officer, but someone he needed to teach about the world.

He said this to Lucy. Lucy! LUCY!

If you don't understand why this is categorically absurd, please go re-watch season 1 right now.

The fact that it was couched in compliments and we got to see Lucy go squee over his praise doesn't make this any less patronizing.

Literally, I don't need to hear any man say this to any woman ever. I especially don't need to hear a white man saying it to a woman of color. And I sure as hell did not need to hear Tim say it to Lucy.

So where'd we end up?

Lucy took some major hits to her character, blurring the lines between personal and professional by accusing Tim of giving Katie special treatment because he found her attractive, and ultimately came off as jealous, immature, insecure, and unprofessional amongst probably some other less than flattering things. And note, I'm not saying I think she is these things. I'm saying she was portrayed to the general audience as being these things.

Tim, on the other hand, got a windfall -- not only did he get to be the wise, all knowing teacher (let's not forget his deep love of meditation), he got to have all his past sins erased under the guise of helping sweet Lucy understand the world is a scary place.

***

So obviously you mentioned a bunch of other examples, but this is already too long and probably not at all what you were looking for in a response, so I'm going to wrap up here. I got another ask about the Valentine's Day plot, so I'll tackle what I did and didn't like there eventually (yes, I am capable of liking things. it's rare, but possible).

Thanks for the ask! 🥰🥰🥰

#chenford #chenford critical #the rookie #my asks #see lana ramble

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moonlitinks · 9 months

Text

Writer Q&A Tag Game

Thank you to bestie @writingbyricochet for tagging me! CAN WE JUST START OFF WITH THAT LITTLE WRITING SNIPPET (AND THE KISS SCENE) THAT HAD ME SQUEALING??? I AM SO, SO EXCITED FOR PARADISE LIVED AND DIED. for anyone interested in this amazing writer, her answers are linked here!

1) What motivates you to write?

Whenever I sit there and read a good book in one sitting for hours. The magic. The characters. The romance. The ACTION. It just makes me realize that I want to ignite this same feeling to others, and I want to make my book feel like a second home for them to escape to <3

2) A line/short snippet of your writing that you are most proud/happy of. If not maybe share a line of someone else's work you love (just please credit them)

This is my most recent writing snippet that I'm just SO HAPPY TO WRITE I DON'T KNOW WHY

“Well, I think you’re a selfish—” Rip. The sound of her skirt tearing caused her to pause, and the magpie picked and picked at the edges of her dress. What was it doing? Bari grabbed at the remaining pieces before she exposed herself and got kicked out due to indecency. He stared at her with indifference, scowling like he could not take her at all. “There,” he said. “Now you have no reason to cling to me.” He snatched the magpie from the air and Bari cried out in alarm. Even the bird seemed to sense the dangerous aura that the he emitted, pecking at the space in between them. Altair paused at where the magpie pecked, and his gaze slipped for a second, enough to Bari to snatch her bird back, and the lantern in the other. She really did need to get rid of the lantern, but it wouldn’t move because, apparently, even an enchanted object believed that she didn’t know what she wanted. “Tell me to take a voice.”

3) Which OC makes you smile every time you think/talk about them and what are they like?

Altair, because he's so complex. I always love a character that is more mysterious and has a lot of history to unpack behind them because of all the awful things they've done, but a lot of guilt and regret following them, too. Seeing their transformation arc is BEAUTIFUL.

4) What process of writing do you enjoy the most?

Drafting and creating plot twists! And brainstorming / daydreaming about ideas. If you can't tell, I'm not much of a plotter haha.

5) What part of writing do you think you are the best at? (Yes stroke your own ego it's okay)

Inner dialogue! And I think I really like getting in depth with characters, so you really know them.

6) What is something in the writeblr community is most enjoyable?

I think I love it because we're all honest about the writing process. Writing is really lonely and it actually can really drain you mentally without the right mindset. Personally, I have a lot of anxiety, so seeing people that understand me really makes me feel like I can write and simply enjoy it. It also makes me feel less alone.

7) A writing tool/device you use that helps you with writing? (It could be speech to text, a writing program etc)

Scrivener, my love. I also love watching author interviews like Chloe Gong and Stephanie Garber and just seeing what their drafting and publishing journey has been like, and it inspires me to write! Pinterest is also great for aesthetics, and Spotify is the best for playlists <3

8) A piece of worldbuilding that you like in your own story? (It could be the magic system, a particular place in the story, a law etc)

I love the Enchanted Kingdom (soon to be named...) I've built so far. It's filled with curses that have been unresolved in the first lives that these gods have lived, and now have reappeared to kinda ruin the Kingdom. My world is very fairytale slash studio ghibli esque, so I'm having so fun with the tidbits now!

9) What piece of advice would you say to encourage others to write if they are having a rough patch?

Oh, God. DO I KNOW THIS PERSONALLY. I swear my rough patch hasn't ended... writing after nearly not writing for a good two years really does something to you.

Writing is all about mindset. It doesn't matter how much of an oddball idea you have. If you don't believe in it, it'll never get finished. Every time I doubted myself, my anxiety got so bad I shut down immediately. And I was so worried about what other people would think when reading my books, that I stopped myself from writing the books I want to write in the first place. Whether you have people around you discouraging to write, or can't believe in yourself, at the end of the day, it's just you and your book. And what's the point of writing if you're just following a trend? Or slugging yourself to finish a book you can't even connect with? Each book is a piece of yourself, and I think the greatest realization I had is to write the story you want to read. And it doesn't matter if it's about some girl who makes a deal with a god to save her sister, or about some alien on a spaceship, or about carnivals! Writing is so amazing because you can connect with readers who enjoy the same things you do, but it all starts with believing in yourself first.

When you get stuck, don't panic. If you haven't read an article about how Boredom Leads to Creativity, maybe take a quick break about writing that first! Writing isn't about who finishes the book first, but it's about quality and a game of luck. Maybe you need a break away from writing. Maybe you need to reconnect with your characters. Maybe you're just tired of toiling over and over again on this plot line.

There is no set method to returning to your project. But what has helped me is learning why I want to write. It doesn't matter how much I return to my world, or try to force my characters into more trauma if there's no reason why I'm writing this. Like, is it to enjoy it? Is it to have people experience these feelings I've felt months ago, and hold importance to me? Even the simplest reasons are the deepest ones. <3

And finally (sorry this advice is literally a hundred pages long, can you tell I'm procrastinating right now?), writing is meant to be serious, but it's also meant to be fun. The draft is simply just that: a draft. You can get ideas from random lines you wrote, or even take out characters to write a different book about! Don't ruin the one thing you've learned to love. Personally, writing in fun / ugly fonts: Arial, Comic Sans, etc., has really helped me focus on what I want to say instead of whether this book will ever get queried or not. Set a routine. Write everyday, or don't if you're more of a mood writer. The instant you feel the itch to write, JUST FUCKING DO IT, OKAY. THIS IS A SIGN. It doesn't matter if it's a scene in the third act and you're only on chapter 1. It's a sign that the story wants you, and only you to write it.

FINALLY FINALLY, I swear this is my last piece of advice, and the shortest: Believe in yourself, even when no one else does. Writing is hard, but rewarding. I believe in you. <3

wowooww that was long, tagging @orphicpoieses @macabremoons @halfbit @leisoree @sleepysuiteheart @the-chaotic-writer @heymacareyna @hallwriteblr @sculpture-in-a-period-drama @pixelw0rds @thetruearchmagos + other mutuals and anyone who wants to participate! i would love to hear your responses, PLEASE.

#tag games #writing #writeblr #writers #writblr #writing community #writing inspiration #creative writing #wip #writersontumblr #writing memes #writerly memes #writerly woes #writer struggles #writing tips #writing advice

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distort-opia · 11 months

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for the purposes of writing fic, how in the world do you keep track of the timeline and what has happened and who knows what and so on and so forth - like i know about the dc chronology project thing which seems complicated.

like, the joker still knows that bruce wayne is batman right now doesn’t he??? i’ve seen some of the arc with him looting his fortune in Their Dark Designs?? and obviously The Joker War has him saying that he’s gonna carve bruce’s face up so that no one will recognize him after but like, this is all recent continuity right bc i know punchline is in it……??????!!!????

you’re just one of my favorite authors and i guess how do you do it besides just having an encyclopedic knowledge of batman comics

Yep, Joker knows that Bruce Wayne is Batman for sure, as of current continuity. Theoretically he's known about it ever since Year 3 of Batman's career, as per Snyder's Death of the Family, which shows a flashback of Bruce's to the time he went to Arkham Asylum and revealed himself to Joker. (Don't get me started on this, because based on even older comics, Joker knew. The most blatant instance of it is Bruce running around without his cowl on around Joker in Morrison's Batman: R.I.P.)

Thing is though, Joker doesn't care. He's actively avoided and repressed the knowledge of Batman's secret identity because it ruined his fun. Bruce's identity starts to come up only when Joker becomes dangerously disillusioned with their "game". He blames the very existence of "Bruce Wayne" for what he perceives as the weakening of Batman, so he's begun to actively go after him (his Family, fiancé and fortune) since Endgame and Joker War.

And thank you for the kind words, I'm flattered! When it comes to keeping up with DC comics... [sigh] I have two words for you, my friend: Excel spreadsheets. And also, a sprinkle of mental illness.

This is still very much a work in progress that I do want to share in the future, after I'm content with it. (Oh the sheer beauty of the filters that I dream of.)

But yeah, at the end of the day writing stuff down and organizing it is tremendously beneficial, especially if you're planning a fic. I recommend making a timeline for your story, recording events that are relevant for character backstory as well as significant hallmarks for the active plot. One website that I've found very helpful over time is The Batman Chronology Project, that you can access here. As with every attempt to piece together timelines for DC, there's still points at which people disagree on placing an event or an issue, but if you're aiming for a rough idea of where to situate your plot, it's more than enough.

#hope this helps even a little Anon!#asks #batman #personal

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hell-drabbles · 5 months

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Since we're talking about leviathan anyway, I wanna share a small ramble I have.

He gave masodist vibe. A very demanding sub who want you to choke him (and not him wanting to choke me cause if he actually did it I'm gonna restrain his breathing for real) This both annoyed and aroused me. Glad to know he's not just pretty faces wanting his body to be worshipped or something. MC having fun humiliating him both words and action without having to be intimate with him.

It's quite show to see that the-so-called perfection submit before some normal human. Even if we're related to Solomon, we manage to turn the table, and that's what (probably) gonna arouse. Having someone to put him in place make him feel pleasure and jealousy. He feels so jealous that you can make him feel something he never feel before but also feels jealous of his previous self that he's able to also enjoy your touches as well.

He's so weird mannnnn 🤷🤷🤷

Ah Leviathan doesn't feel like a demanding sub, he gives me the vibes of a Dominant Bottom, which, is uh, also not my thing because, again, I'm not a sub. I really don't like anyone or anything telling me what to do and making demands of me. If he was structured like a commanding brat, then I'd be into it because I like brat taming, but it's more of a reverse with Leviathan. He's taming the MC to do what he wants and that just... Ugh, I don't like it. Especially since the MC is written to act like a brat with him and that just ruins it for me.

And I also don't like the fact that the MC goes "Oh but I shouldn't feel this way," expressing fucking shame at the thought of ever being in control. That just irritates me to no end. Absolutely no confidence in their kink loving self and I hate it. That just tells me that the writers absolutely don't expect any doms in their game. I just, AH!

So anyways, I had high expectations for Leviathan since the way he was marketed made me think he would be my type. And then I get his story bits and I end up feeling betrayed. So my feelings towards him are pretty biased. Once I know him more, I'll write about him.

#admin

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in-the-mines-of-veingadd · 5 months

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This comic is discontinued.

I think everyone's seen this coming now. >.>"

Sorry for trying to draw it out so long. I did try, and I wasn't pretending to salvage this comic... but let's say I've done a LOT of missteps that ruined the experience for me.

I'll put the longer stuff under read more, but the basic is: I'm sorry that it had to come to this. You may shoot some asks if you wanna know the rest of the story, or what my thoughts are, or anything else, really! And if you're disappointed, I understand. I am, too. But I think it's best to put the pencil down for this project.

Thank you to those who were waiting. ;o;

The story I planned for this comic was pretty big, and it was my pride for a long, long time. I even had a whole google docs at 23 pages worldbuilding for this comic! But it seems like despite all I try, it still didn't work out for me.

The basics are these:

I am not a person who can focus on a huge project for too long. It feels like a chore eventually and my motivation for it dies. I needed a handbook to hold onto, and I didn't have it! Because I didn't plan the story through!! So if you're like me who keeps jumping projects, maybe limiting yourself to a shorter, simpler story and writing everything down in text format BEFORE turning it into a comic will work wonders.

I discussed it with too many people... Now, having friends isn't bad, and sharing work with your friends isn't bad, either! The problem is, as I said above, I DIDN'T have a strong grip on the story and kept asking people to 'help figure things out with me'. This really muddies my story and overtime, I forget my true intent for it... which pushed me away from the story altogether.

I. STARTED. TOO. BIG. Despite my weaknesses, I chomped down on it because I thought I could do it. I got way too eager, way too greedy, and without pacing myself properly I just shot myself at the foot and lost steam early in the race.

Please note that this only works for me. I am someone with massive focus issues, a full-time job, and other real-life stresses, and I cannot hold the weight of this story over time. So don't be discouraged if you are planning on making your own comic. Just be prepared and try things out before you jump into it.

Pilot comics are always good. Yes. Please do that.

Thank you! Really. For still waiting all this time. I appreciate all of you, and I'm sorry for all of this. I hope the comic was fun while it lasted. As I said, if you have questions or need advice, please ask away! (I won't answer complaints because, sadly, it bogs me down. I'm also unhappy with my own decision! ; ;)

(The good news is I am using this energy to make another comic, but you will see that in +6 years once I ACTUALLY finalize and plan the story down.)

#minecraft

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mamthew · 7 months

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I replayed Tales of Zestiria. It took 70 hours and the post-game DLC chapter took another 6.

Tales of Zestiria released at a time when I was big enough into Tales that I pre-ordered Special Editions and asked Gamestop employees if I could keep promotional posters after they were done with them (I still have the posters for Graces and Xillia). This means that Zestiria, as a Tales game on the brand-new PS4 hardware, had me vibrating with excitement and set me back over a hundred dollars. To call the game a disappointment would be underselling it. I skipped meals to afford this game and then couldn't bring myself to bother opening the Blu-ray movie that was packaged in the Special Edition, or to preorder the prequel, Tales of Berseria, two years later. Zestiria was inescapably bad.

Still, I'd expected to come away from this replay a decade later with a new appreciation for the game. I'm better at analyzing art now than I was then, and even bad art can have something interesting to say, even by accident. But the further I dug into this playthrough (which cost me an extra fucking $60, by the way, because my original disc has gone missing and i guess namco cant be bothered to lower their prices on 2015 offerings), the more appalled I was at Zestiria's lack of quality assurance, cut corners, bland story, and infuriating systems. Every Tales game has its fair share of jank. With Zestiria, the publishers clearly assumed this this meant Tales fans' jank threshold is through the sky. And given its 9/10 Steam rating, maybe they guessed correctly.

The best Tales games deconstruct genre tropes by first presenting those tropes at face value, then turning them on their heads halfway in. Symphonia is probably still the clearest example of this, as its Chosen One pilgrimage is revealed to hide something much bigger and more sinister behind it, but most games in the main series do this both with their main story and with one or more party members' individual arcs. The idea behind Zestiria and its prequel Berseria was a novel take on this series staple: have Team Destiny make a game with a doggedly cliche story and have Team Symphonia follow it up with a whole-ass game that turns all those cliches on their heads. I really appreciate this initial idea, and it actually works pretty well, still; Zestiria's story and characters are noticeably more complex and interesting after you've played Berseria and gotten that context.

But. Zestiria is a worse game than Berseria, by far. Once I'd played Berseria, replaying Zestiria to catch the new context was a massive chore, with its frustrating battle system, terrible area design, worse dungeons, and bland characters. It's easy to play Phantasia after its stealth prequel, Symphonia, because Phantasia PSX is fun and polished, and the areas where it is dated don't invite immediate comparison to the same areas in Symphonia. But Zestiria is unfun and unpolished and released only two years before Berseria on the same hardware. Zestiria's status as a sequel is simultaneously the most interesting thing about it and something that makes it even more inexcusable. While I don't know anything about the development of the two games, I can't help but wonder if the existence of Berseria is part of the reason why Zestiria feels so rushed and unfinished. They couldn't release Berseria first without ruining the whole point of the games' connection, for both of them. So if one game was going to have to drop on a strict deadline it would be Zestiria, the more cliche entry that allows for Berseria to function as a deconstruction. Now, though, 6-8 years later, it just means that only one of the two games in this legitimately cool experiment is actually worth a replay.

On its own merits, Zestiria's story is just a cliche. Sorey, our protagonist, is a human raised by Seraphs, elemental spirits invisible to most people. Because Sorey can see Seraphs, he takes on the role of Shepherd, a Chosen One religious figure that historically works with Seraphs to beat back the evil Lord of Calamity every time a new one crops up. He collects a team of Seraphs along with a human whom he gifts with the ability to work with him, and together the crew "purifies" "malevolence" by fighting monsters. At the end, he purifies the Lord of Calamity, sacrificing his friends and/or himself and/or his time (it's unclear, both accidentally and deliberately) to do so, thus saving the world. There's a few more wrinkles than that, but generally it's a fairly simple story. The neatest thing about it, actually, is that Sorey's Seraph friends can turn into weapons for him when they fuse with him, which is a fun reference to Tales of Destiny, a game in which certain characters had magical talking swords that only a select few people could hear.

It gets ideologically...troubled, though, when it comes to the concept of malevolence. In the world of Zestiria, feeling negative emotions can turn living things (and somehow also some inanimate objects) into monsters called hellions that serve the Lord of Calamity, which is essentially the being with the most malevolence in the world. By fighting those monsters Sorey can usually return them to their normal selves, unless they're "too" malevolent or they like their malevolence somehow and refuse to turn back, and he's forced to kill them. Malevolence isn't necessarily generated by doing bad things, it's generated by the negative emotions themselves. Someone doing bad things who think they're doing them for the right reason won't turn. Someone doing good but resentful of the fact that there's a systemic shortcoming requiring that they fill this need will turn. This essentially cordons off a chunk of the range of human emotions as "the bad ones," thus generally denying them to all the characters we're supposed to care about.

Every time Sorey gets frustrated by an injustice or his inability to help someone as much as he'd like, he's cautioned to stop feeling that way, or he might turn and in so doing, force all of his friends to turn too. And while plenty of good people turn, they can't be reasoned with until they've been purified, and their emotions reset. They do a few interesting things with this, like when Sorey must maintain a sort of radical empathy toward the man who tortured and killed his grandfather in cold blood, while the man taunts him about having done it. But for the most part, it means that Sorey's character does not really develop throughout the game. He must stay friendly and approachable but stoic and incorruptible because the story's stakes if he falls are so high that the writers can't let that happen. The intent here is to frame hellions as one thing so that when Berseria features a protagonist who is becoming a hellion, the player's conception of the world is challenged and broadened. A more interesting story would be one in which Sorey does become a hellion and has to figure out a way to stop his friends from changing too, but that would lean too much into what Tales of Berseria does, so Sorey must stay a bastion of positive emotions for the sake of the twist, which only happened two actual real-world human years later, and not to these characters.

I think Final Fantasy XIV: Endwalker is a useful comparison, here. In that game, feeling despair about the impending end of the world turns people into monsters, killing them instantly. It's a metaphor for the way inaction from the feeling of helplessness at the mind-boggling scale of the problem of global climate change keeps us from trying to do anything to fix the problem; the problem of "don't despair at the end of all things or you'll end sooner" is, purposely, a paradox because our current call to action is also a paradox. The problem's too big for any one of us but we can't let ourselves think that way or it'll only get worse. But the negative emotions in Zestiria aren't also unconstructive emotions. The central theme of Berseria is that angry people get shit done, which is demonstrably true in our world too! So it feels insincere when Zestiria frames anger as a problem that must be solved before any larger problems can be handled. Especially when one character, Rose, is an assassin whose mission is to kill people who use their power to ruin the world. She doesn't become a hellion because she doesn't kill out of anger, but the question then hangs over the entire game: why does that matter? If the evil Cardinal Forton was stabbed by someone who was mad at her, she wouldn't be any less stabbed. You can easily find lots of old forum posts from back when the game released of people trying to piece together why character A was a hellion but character B never changed, and in the end, the answer is it's arbitrary. The writers decided A was too angry or sad or something and that B hadn't reached that level.

It doesn't help that the translation is pretty shoddy in places. This was an issue with localizations of Japanese games at the time. I remember the discourse around the localization of Persona 5, a good game I like a lot with powerful themes and messages about real-world issues. The localization didn't really give its characters distinctive voices and had many sentences that were nonsensical or poorly structured, to the point that the localization of Persona 5 Royal had to go through with a scapel and rewrite a number of lines for clarity and voice. Zestiria has this problem but much worse. At the end of Persona 5, I knew what the characters were fighting against and why. The cutscene before the final boss of Tales of Zestiria is so hard to parse that I found myself questioning things I'd thought I knew about the basic parameters of the story and characters. This really does a disservice to the voice actors, who work valiantly to make their characters sound distinctive and individualized through a sludge of boring words. It's especially frustrating because for the first (and I believe only) time, they got some voice actors known for their internet presence for the game, and those guys had to work twice as hard to make their roles in a seminal JRPG series memorable.

I've written this much and barely touched on the gameplay yet. One of the most frustrating things about Tales of Zestiria is that its battle system is designed after the one in Tales of Graces, the game with my favorite battle system in the series, but it's tweaked in ways that make it borderline unplayable. In Graces, regular attacks that used the attack stat were called "A Artes" while special attacks that used the magic attack stat were called "B Artes." This game keeps that differentiation, calling them instead "martial artes" and "arcane artes" and adds a third category for spells, or "seraphic artes". The game attempts a rock-paper-scissors style tier system in which martial beats seraphic, seraphic beats arcane, and arcane beats martial. In practice, this means that each type of attack can't interrupt the attack type it's weak to. And then, instead of hitting them out of casting, arcane artes speed up the cast bar of any spell users they hit. This makes arcane artes (i.e., the cool moves you use in every Tales game because they're cool) a dangerous proposition because at any time their target might start casting and get off a powerful spell instantly as a result. It also makes the bad AI of CPU characters way more dangerous, as even if you know how to stop an enemy from casting, often your partner will run over to another and help it cast faster instead.

Also, no character type has access to all three types of artes. Humans can use martial and arcane, Seraphs can use martial and seraphic, and the powerful human-seraph fused forms can use arcane and seraphic. The fusing system means that there can only be as many Seraph characters on the field as Human, so a battle party is either two characters (Sorey and one Seraph) or four (Sorey, a partner, and two Seraphs). In the many parts of the story where Sorey is traveling only with his four Seraph friends, you're stuck with a battle party of two. If a Seraph dies in battle, they can be switched out on the fly and recover over about a minute while benched. If a human dies, they can revive by fusing with their partner Seraph. Fusing is the only way to revive human characters without items, and the only way human characters can get access to healing spells, which are used by spending gauge that's built up by comboing.

This means that players are disincentivized from playing as Seraphs, as if the Seraph dies, they'll have to switch to another character they're less familiar with until their character has been benched long enough to return. It also means that human characters at their weakest right after getting revived are in a dangerous position, as fused characters can only use arcane artes, which can make enemy spells cast faster, but they have to build gauge by hitting enemies in order to get enough to spend on a heal. The system is both overly complicated and makes it difficult to claw back out if things go south. It's the result of a lot of pretty good ideas stacked together until they're getting in each others' ways.

Another collection of pretty good ideas that get in each others' ways that is then stacked on top of all the rest is the equipment and skills system. Sort of like in Tales of Vesperia, equipment can have skills attached to them. Unlike in Vesperia, however, there's no way to permanently learn the skills attached to your equipment. Once you switch to a stronger weapon or armor piece, your character loses the skills attached to their previous gear. On top of this, each skill is placed on a 5x13 (I don't remember the exact proportions) tic-tac-toe style board. If you manage to place columns, rows, or stacks of skills on this board, you get better skills. But, again, those are wiped away if you replace your gear. If you find a sword with 60 more attack but it breaks the column that raises all your stats by 20, then all your other stats suffer if you equip it. If that same sword breaks the row that improves the character's attack growth rate for level-ups, then in twenty levels your character might have worse base attack than they would have if you'd kept the crappy sword that let you hold onto that growth rate. But then, on top of that, all characters' growth rates are decided by the stats of the equipment they're wearing when they leveled up. So maybe it's a better option to just wear the strongest gear and let that improve your growth rates that way? There's no way of knowing which one helps you more. And in the short-term, you're going to have a difficult time in battle if you're using weak equipment, even if it lights up your tic-tac-toe board like a christmas tree. Then, there's also an item fusing system where you can chunk items of the same type together to combine their equipped skills. But every time you fuse two of the same item with different skills in the same slot, the resulting skill is unavailable until you fight with that item equipped for a certain number of battles. If you fuse a piece of gear with a locked skill slot, that slot disappears, making the resulting piece of gear worse, rather than better. So to actually get good enough gear options, you have to fight wearing items you fused regardless of their stats or how they fit on your tic-tac-toe board (you can't even see where a locked skill will go on the board until you've unlocked it).

So you have to wear bad gear sometimes and some of that bad gear is going to affect your stat growths during levels, and suddenly this is three different decent ideas combined into a terrible chimera of a gear system. This makes equipment management for the six (sometimes seven) party members an agonizing process that often easily takes twenty minutes to slog through every time you get a new piece of equipment or visit a shop. There's even more complexity to this gear system than I've brought up here, but I'm exhausted just talking about it, so let's move on.

So we've got an equipment system that's overly complex and often contradictory in its modes of engagement, grafted onto a battle system that's engaging and occasionally interesting but unintentionally punishing and limiting. And all this is presented through the jankiest engine and worst art direction in the series. Zestiria is graphically ugly and runs like a nightmare, with a stuttering frame rate, a tiny draw distance, and bland, same-y environments. The developers had the idea of having battles take place on the main map, rather than placing them in separate flat arenas like in other Tales games, and while this makes sense in theory, in practice it means that the camera is actually hellish, often getting stuck on setpieces or other characters, or just...the idea of a slope. Dungeons are designed with this in mind, as nearly all of them are made up of thin corridors between large rooms where the enemies are placed, but enemies will follow the player character without ever giving up or tiring, often at a slightly faster pace than the player character. Enemies grouped together result in longer and more difficult encounters, where more enemies keep entering to replace the ones you dispatch.

If, for example, you're 50 hours into a game and trying to get to the next room of a dungeon without a fight, but all three enemies in a room catch up to you in a narrow hallway, then you're stuck fighting twenty enemies in groups of five at a time while the camera resolutely stares directly at the wall behind your character and at any time one or five of them might start casting a spell, which the partner character might speed up with an arcane art, and then the party's dead and you lost all the gameplay that got you to that point. While this is a worst case scenario that only happened to me a handful of times this playthrough, any combination of these issues plague nearly every enemy encounter in the game.

The six-hour DLC, which is really just a single 11-floor dungeon with fusing (and therefore player one's healing and reviving capabilities) removed, which provides no new story information, makes these issues even more apparent, and frustrating. A pathway up to the eighth floor is locked behind a hidden door on a wall on the sixth floor with three purple dots on it. The whole dungeon is tinged with a purple haze, so these dots are hard to make out, and it's made harder by the constant stream of enemies chasing you through the dungeon without stopping. In most of the game, if you fight an enemy, then all nearby enemies disappear when you finish the fight. In the DLC, though, they show right back up while you're recovering and keep chasing you, meaning you can get five to six encounters in a row with no chance to get your bearings, all while hunting for three small purple dots on a wall somewhere in a purple dungeon. It was clearly purposely designed this way to try to wring more time out of a miniscule DLC, and it worked, as I spent at least two of my six hours with that DLC just scouring the same three floors for that hidden door. That DLC was on release - and still is - ten whole dollars.

It's impossible not to have to grapple with the realization that Bandai-Namco forced this game to be bad. The game needed more development time that it did not get. The game needed more QA testing or, more likely, to actually respond to feedback received from testers. The game needed better localizers or, more likely, localizers with enough time to put the script through a few drafts before finalizing it. The game didn't need DLC, the DLC it got didn't need to be six hours long, and it definitely should never have been $10. The game itself should not be $60 now in the year of our lord 2023. And none of this is because Team Destiny said "let's make the game bad and expensive and frustrating." It's because someone higher up in the decision-making process said "I don't give a shit if the game is bad and expensive and frustrating." Tales of Xillia feels like it was made to be a benchmark of quality for the series. Tales of Zestiria proves that the developers were not being given the time or resources necessary to meet that benchmark. We'll see if we get another utter failure like Zestiria after Arise, or if they manage to maintain the new benchmark Arise has set. But knowing Bandai, I'm nervous about which way that's likely to fall.

Oh, the music's pretty good, though. Like six tracks in the game are really good and the rest is bad to fine, which is better than the vast majority of the series. Get Go Shiina to compose for more Tales games, please.

#tales of series #tales of zestiria

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stargazer-sims · 6 months

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I honestly do not know how I feel about finishing my main story. I want to be happy and proud of myself for actually finishing something, but mostly I think I just feel... deflated? Finishing it was anti-climactic and I didn't get the "Woo.. I'm done!" rush of self-congratulation that I kind of expected. I'm not sure why, but anyway...

I know a lot of people who follow me probably ignored this story because the text-to-picture ratio was really high (and there were no pictures at all for the last 13 parts), and that's totally okay because I was writing it for myself anyway. But the thing is, now I feel like I don't want to share any more of the writing that I'm doing for myself. And I don't mean that in an angry or self-pitying way either.

I've loved writing so much for the past couple of months, ever since I stopped trying to force it into being a "sims story" when it never actually was. Ironically, once I stopped trying to make it be sims-related content. I also stopped stressing about people not reading it. It's kind of amazing, the difference that being authentic and creating without constraints can make to one's attitude about their creative product.

This may not mean a lot to most people, but to me it's been a huge revelation. Forcing any aspect of creativity is bad. It can ruin your passion for things that you love. Forcing myself to connect my writing to The Sims was doing that to me. I hated every second of having to do screenshots and make everything somehow sims-related, and it was no longer fun, yet I couldn't seem to stop. It was like a compulsion, and I kept doing it even though it caused so many negative feelings.

And now that I'm less concerned about "making content" and more focused on writing the way I want to write, sharing it doesn't seem like it's that big a priority any more. I've started working on The Art of Redemption again, and if I do decide to keep posting it publicly, I might just move it and any future projects over to my writing side-blog (which I made a while back and never actually used).

So, huge THANK YOU to those of you who did actually read The World, According to Victor and Yuri. I appreciate each and every like and comment that I received on it. If you stuck with me through the entire thing, you deserve a gold medal. Thank you!

#sapphire notes #kind of a rant #but not really?#idek #writing

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space-blue · 2 years

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Hello, I happened to come across today the post you made about Jinx and Silco's relationship and you mentioned that you dislike Cait. It's not a really common opinion in the fandom, and because I more than dislike her a little I would love for you to elaborate on it.

Thanks for the ask, Anon. I'll try to elaborate without painting too big a target on my back for Cait lovers, who, as I understand it, are a majority in the Arcane fandom.

This answer is 2.8k words, so have fun, and I'm hiding the rest because nobody needs that much on their dash.

First off I'd like to stress I don't hate Cait as a character, and that I'm capable of making the difference between what I'd like to see and what the show runners wanted us to see. A lot of my distaste for her lies in that in-between space. None of this applies to fanfic Cait, as of course people can take her any direction they want.

Cait, as a concept, is an interesting character. There are ways for her to develop in season 2 that can make her more loveable for me... But I admit I'm sort of pre-disposed to dislike her.

I think there are some ways the script could have been doctored to make her inherently more likeable, and for her to not ruin Vi's character so much. That's right, I'm showing my soft belly for Caitvi lovers to bite into: I actually don't like Caitvi as a season 1 ship, and think Cait contributes to making Vi's act II-III character worse.

Ok, let's take it slowly.

Cait is the top 0.01% of the uber rich in universe, in a show asking us to sympathise with the people who are being controlled, exploited and killed by that ruling class. (And polluted!)

Cait is a cop. Cait went out of her way to become a cop, it's clearly not what Cassandra wanted for her. I'm rather on the ACAB side of the fence, so again she doesn't quite recommend herself.

She is shown to be more of an investigator at the start, so I was actually curious at first. Would she be some sort of Sherlock type? But no. Turns out Cait is the entitled kind of vigilante.

So, like, of course the show frames this as good. It's good that Cait goes to investigate, because Marcus is corrupt. The truth would never air, and she'd never figure out who is behind the bombings if it weren't for her private investigation. Private detectives who go rogue are typically the heroes of their stories, and we usually root for them.

But the issues pile up with Cait: She refuses to take her firing as having any meaning. She keeps wearing her uniform after she knows she isn't on the force, and forges documents (and Jayce's seal) to get what she wants.

Although she acts "for good", that's not her actual stated motivations. Cait's only stated motivations are to catch the perp. Funnily enough, she's a lot like Jinx. She wants to prove herself. She thinks she's right, she's close to wrapping her case and she doesn't trust her colleagues to do it, so she goes and usurps power and impersonates an officer to do it herself.

My issue here is she does all that NOT KNOWING Marcus is corrupt. This would be a totally different vibe if she knew he was a pawn for a powerful undercity "industrialist".

There is also the aspect that she studies Zaun and its criminal underground extensively... And yet never went?

I've been told "her parents must not allow her!"

And I reply: So what? The moment she has a good reason to go, she just straight up goes, and suffers zero repercussions for doing so! She never voices any complaints or anything about the Undercity being off limits to her.

She doesn't know about the suffering in Zaun. She says she had no idea it was this bad... How sheltered can you get, that you study a place and its rampant crime, fill up a map, get called "obsessed" over it, but you somehow never had the motivation or curiosity to go there?

This ties into another aspect of Cait which I dislike, which is again completely involuntary and an artefact of the show's strict timetable.

She doesn't share anything about herself. Not even to Vi. We virtually know nothing about her except that she likes to shoot guns and looks up to chief-ACAB Grayson (my beloved). Even on the bed scene with Vi, it's only ever Vi opening up and sharing. And you may say, "yeah but we only see a glimpse, I'm sure Cait shared stuff too". And yes, sure... But Vi is making a comment about the place when they break in... That reveals she has NO idea it's Cait's home!

That's one of the thing I'd suggest editing out to give the impression that Cait has explained things and that Vi doesn't learn she's a Councillor's daughter until after breaking her into her own home.

Cait learns about Vi's past, again and again, and shares nothing about herself. Even when faced with the Firelights, she "knows a friend on the Council" but fails to mention her mom is there too. In front of Ekko, I get, but... What does Vi know about Cait? Canonically???

Back on track.

Cait being surprised that a city riddled with violent crime is actually a miserable place to live in left me feeling like she needs to see the misery to feel it, and somehow failed to extrapolate and empathise from all her "obsessive" research.

There's lots and lots of good reasons for her to not have gone there yet... But it's half her city and again, she's a cop!! I've once been told "Maybe her parents don't allow for her to be sent to Zaun" and I'm like, all right, so her colleagues were totally right for making fun of her, she's an over-privileged and sheltered kid.

And HEY, that's a fine character trait. My issue with it is that it doesn't come across as intentional. It comes across as the writers showing their hand through her. Cait needs to show shock at the poor Zaunites... A real world Cait would probably not be shocked, because she could hardly discover such stuff at her age and station. The show also doesn't expect us to criticise Cait for being the way she is. Show Cait is "naive" and at the start of her character arc, but I really didn't get the feeling she was meant to be seen the way I perceive her. She's very much "uwu good girl protagonist, also she's hot and smart, please don't think about her actions too hard haha".

On to the meeting with Vi.

I feel like there Cait shows us that she also doesn't have a very strong sense of Justice or Fairness. Again, that might be intentional, but I doubt it. She knows that Vi is in the worst prison around because "No reason actually, there wasn't even a trial".

This is as unfair as it gets. She asks, Vi gives her a flippant answer, and bam, Cait doesn't show enough interest to get to the bottom of this. Vi wouldn't help, so fine, Cait just leaves.

She won't free Vi out of her good heart, but only once her fear makes her act, when Vi threatens that the Undercity will eat her alive.

My fix, to start Caitvi on a better footing, would be this:

Vi is flippant and refuses to answer. Cait shrugs and leaves, and when Vi says the undercity will eat her alive, she leaves ANYWAY. Cut to Vi hearing the Warden come and tensing... And she's actually being released. She walks out of the prison, and down to the dock, perplexed. Cait is waiting there next to the boatman she hired. She waves Vi over and says she may as well share the ride.

Vi is surly and silent for a while, before asking Cait why she had her released. Cait would shrug, say it was the fair thing to do, considering she was never even tried.

THEN Vi would accept to guide her in Zaun, knowing that it might lead her to her sister. Mutually beneficial thing, but on a better footing. This would establish that Cait has a moral compass, and give a basis for Vi to trust that maybe this enforcer is not entirely rotten.

Because in the show, so far, we only know that Cait is a cop because SHE LIKES SHOOTING GUNS and the one woman who could out-shoot her showed her the way. It's never established that Cait has some great inner sense of Justice, or a drive to save the people or anything. Grayson, in that one speech about why she needs to know how to shoot, inherits a greater sense of her dedication to peace and being a Good Cop TM than Cait ever gets. Cait is show to want to solve mysteries, and does the right thing in the fire... but so do all the asshole cops, rushing into a burning tent to rescue a little girl.

Cait becomes a vigilante to prove she "can do it". She's not a Good Cop TM.

Right, on to caitvi specific grief.

For me, I see absolutely zero reasons for Vi to be anything but hyper-wary of Cait. She's an enforcer, literally the type of person she has all the reasons in the world to hate most, and we're shown and told all of those reasons. She's spent her entire late teens being beaten in prison thanks to an enforcer. She's seen enforcers shoot people point blank. She considers her mother killed by enforcers.

Do you think anyone IRL would have this level of hate for authority/oppression tools such as enforcers, come out of a multi years stint in the worst prison possible, and fall in love with one such enforcer overnight?

"But Cait is hot and Vi is horny, and Cait is a good cop and—"

And canonically it's never shown that Cait is good actually, just that she abuses her power, is entitled, and has terminal main character syndrome (meaning she does all that while it being cast as a "good thing" by the show. We're meant to consider this all Good-and-Fun).

And I'm sorry, but I can't. Cait finds Vi in prison, being chronically abused, and that budding relationship starts within hours of her freeing her. I can't associate that with "healthy".

I don't think it's Good or Fun that Vi immediately starts having feelings for an enforcer (and the 1% to top it off), no matter who that enforcer is, or how cute they are, and that this enforcer would allow it/go for it without having the wherewithal to see how potentially unhealthy this is, and that this person (Vi) needs time to find themselves outside of prison first.

I just don't buy their relationship on that spectrum. Begrudging, hard earned respect, I can get into. But the show doesn't give us time or opportunity to get there.

I think the show chickens out of taking the time to make Vi scary and broken. To make her hate and distrust Caitlyn, who is the pretty face of oppression, who didn't even think to release her on her own after finding she was wrongfully imprisoned, and instead needed to be threatened.

They unrealistically sped up their relationship, most likely because they wanted to give the fandom an (implied, F/F) relationship to keep everyone buzzing until season 2.

Anyway, a better caitvi dynamic, imo, is a dark Vi who hates and distrusts Cait, and a naive, entitled Cait but with a strong sense of justice, who earns Vi's respect by not falling into the typical cop or one-percenter grooves, or trying her best when called out on it.

Leaving Vi's warming up to Cait for season 2, and for them to actual common grounds besides "you're hot" and "we spent 48h together" would have been ideal.

Cait going on to not become Sheriff (maybe more of a PI?) and Vi not becoming an enforcer, would also be ideal, but I guess I'm demanding too much. Especially when it comes to Vi, who was all over the place in that last act.

Poor Anon, you'd also be shocked to know how much I dislike act II-III Vi, considering how much I write her myself. But Vi is an interesting character who gets shafted by the narrative and its time constraints, and is a pleasure to write in fix-its, while Cait is a 1% cop gone vigilante as the core of her narrative, so, yeah...

The firelights come in as a final point of dislike... They muddy the waters in the show, casting Silco as a moral-free villain while offering no solution for the whole of Zaun in their rebellion against him and Piltover both. They also give Cait a safe soundboard to tell a Zaunite to please "not do violence because violence is not the solution uwu". Try saying that to Silco's face lol

I just... really disliked that from the show, not only from Cait, because it felt like this was the middle ground message I was meant to accept. Both Silco and Piltover get vilified, and the Firelights and Cait are these half baked middle grounds of true goodies, who offer nothing tangible.

At the very least she has no ground to stand on to tell Ekko, or any Zaunite, that violence isn't the solution. The show went out of its way to establish that piltover and the Council will stop at nothing to keep Zaunites oppressed and working for them. It's in every arc.

IMO that justifies Silco's revolt. I mean his violent revolution plans, not whatever undefined stuff he has going on in act II-III. But then I'm French and I grew up being taught that decapitating kings was a Good Thing. And I strongly believe that violence CAN be a necessary part of revolution. The show proves that protests, violent or not, were not even cutting it.

Cait comes down to Zaun, sees the misery, hears from Vi about losing her parents to enforcers... and tells another Zaunite to chill and not attack her people.

Yeah, to me, that looked like no arc at all. She's justified in her actions by the reveal that Marcus was a mole/owned by Silco... So everything she did to uncover Jinx was justified.

Then there's this one good thing, in the final bit, where her story for a brief moment mirrors Vi's.

Remember how Vi makes her first grown up decision, to take responsibility for her actions and stand up to protect her family... And Vander takes it away from her, throwing her down into the basement?

Then Vi and Cait face the Council, and Cait steps up and looks like she's about to LIE to the Council to protect Vi. She's about to ruin the entire point of her going on a vigilante trip in the first place by hiding the truth she's learnt about Jinx...

But Vi stops her, pushes her hand (and her help) away, and throws her own sister under the bus by naming her to the Council. (Yeah, for the LIFE OF ME I cannot comprehend what Vi is meant to think she's doing there. She's basically condemning her sister to death or the rest of her life in Stillwater. What other things does she think she's achieving? A question for another time).

Finale Cait is very much used to just play with Jinx's projections and doesn't do much as a character that would make me feel either way.

As a result I'm left with a Cait who has no great personality. She likes shooting. She liked science a bit, maybe, as a kid? She doesn't mind forgery or abuse of power if it's done by her. She's got a good analytical mind (reconstructs crime scene) but very low empathy (literally can't fathom people would be miserable in Zaun despite years of obsessive research). And that's it. Jayce has more character than her. Heck, we know more about Heimerdinger than Cait, and he's at least fun to hate lol.

She comes off as an entitled brat who doesn't do a whole lot of growth, doesn't learn any valuable lessons, and doesn't see any issues with falling in love with someone like Vi, despite the insane power imbalance between them and Vi's crazy baggage.

And most of this is not "her fault" but the way the writers characterised her, in a show with a shit ton of characters with very complex plot intermingling.

But it's also a show from a game that has her as a sheriff, has hot police skins, and used to have a bunch of police brutality jokes as Vi's voice lines. So yeah, I don't think her creators consider people like me Cait's target audience.

I have, however, read some excellent fics that made a great use of Cait, though not often because I simply don't browse the Caitvi tag. But plenty of fans like her without liking her sheriff/cop side and have done fabulous work to characterise her away from that and give her... Depth, personality, all of that.

So yeah, not holding my breath for season 2, but who knows.

#arcane #arcane meta #anon ask #thanks anon #vi #cait #arcane ask

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