#// so some of them can branch off a little bit on a plot-to-plot basis but a lot of non-romantic interactions can still affect them too

[hellguarded-moved]

// btw i just wanna say i've always been huge on continuity. and i value each and every interaction, so you can be sure that if ig has met your muse, they're somewhere in his memory, they've made some sort of impression. while his story is still steadily evolving in the background for the most part, you can be sure your muse has had some effect on him on way or another.

[neyliaart]

Since im skipping class have a TGCF AU idea ramble.

Premise is smt like: strong spiritual weapons can develope and switch into a human form (see. Rain Masters Mount. The Boy had it going)

Aka. Im turning our babies into people but only part time.

Cut because much spoiler for all Plot

Let us begin

Ruoye:

Ruoye turns human about a medium percentage of the time and is suprisingly rather talkactive with Xie Lian. They cant be curled up and cozy in Xie Lians sleeve when they do, which is about the biggest downside. I imagen when they were a younger spirit they were much more curios, exploring and testing their limits in silk form, learning a lot about their own limits and how not to get tangled up into knots. It was semi-acidential when they first turned human and jumping up all proud they promptly fell back down face first. Gravitiy baby. They figured all that out relativly quickly tho.

Ruoye has unbeliavbly long white hair and it gets tangled everywhere and on everything much to Xie Lians dismay. He tried putting it in a big braid but that just ended up getting Ruoye stuck on some branches and didnt help the knots in their hair so he resigned himself to the task of combing it on a regular basis. Ruoye mostly turns to wander of and explore a bit (and happily tell Xie Lian of their findings) because even now that they have grown they still remain curious in nature or to help out with the chores sometimes. Although they do hate getting dirty in general. When younger I also imagen Ruoye often asked about how they came to be, after all a spiritual silk band like themselves must have some origin. Xie Lian has managed to avoid the topic each and every time, leaving Ruoye clueless about its own involvement in past events. A very good decision because I dont think thats something anyone would want to know.

Some more general appearance (which I hopefully will actually draw one day) Ruoye is pale and wears white which isnt really that original but theres only so much my mind can do with white slik. Aside from the long hair which is usually open unless Xie Lian ties into into something for them their sleeves are also long. They grew into it to the extent they dont trip over their own clothes anymore but its still enough to blow in the wind and turn them into a giant silk again visually speaking. After the final showdown and being stitched back together they also have a rather big scar on their stomach which bothers themselves a little to look at, but they dont have to very often so they sometimes forget its there.

Eming:

Ruoye was not happy when showing off by turning human resultet in Eming doing the same. Starting with general appearance here. One red eye as per usual. Id imagen Eming never bothered much covering the other or the lack of one and neither did Hua Cheng. Eming is Pale and almost silvery to the extent Xie Lian thought he might be sick upon first seeing him (Eming didnt mind it got him attention). While technically also a good 800 years old by now Eming remains the form of a teenager which actually makes him smaller than Ruoye, much to their pleasure and his dismay.

Anyhow, Eming Propably does know how it was formed. Hua Cheng just told him very early on to have it out of the way and not be troubled with it later. Eming didnt really use to be in human form much if at all until Xie Lian came around and he started doing it more and more to help him with as many things as he possibly could (butting heads with Ruoye about the praised it earned him many times). There was just not much of a reason prior and he had to always be on call on vigilant for Hua Cheng so thats that. Sometimes now he just turns human because Xie Lian thinks hes rather cute and he loves getting that pointed out. Makes him all giddy. Eming likely talks less than Ruoye in general which is subconcious because Hua Cheng only allows so much and he is already not so happy about Eming taking on human form just to steal away geges attention. Eming did open up to Ruoye a little post-canon. Since Xie Lian spends a lot of time just being lovey dovey with Hua Cheng the two weapons also have a lot more downtime so Ruoye dragged Eming along to explore Ghost City one of those days. And well, even for Eming you can only listen to so much chatter and happy comments about the structure of the buildings or whatever else caught Ruoyes eye before you slowly start to join the conversation. Turns out Eming can actually talk quiet a lot! They probably bond over that and now Ruoye drags him along all the time. This does in no way mean they dont still fight for Xie Lians attention. It does however mean they get to complain to one another about how they both lost that fight to Hua Cheng.

Fangxin

Xie Lian actually didnt know Fangxin had a human form for the longest time and was rather startled when he first turned out of nowhere. It was likely at someones doorstep when Xie Lian was doing the usual scrap business that a tall and posed man just suddenly stood there pointing at a book asking something along the lines of "can we get this one?"

Fangxin did tragically not convince the owner to give them the book for free which was likely only because he was told to keep at least a semi-low profile and hes not one to disappoint Jun Wu.

Fengxin I feel has intricatly braided hair with a few little pieces of silver jewlery in it. Generally clothes in black and the tallest of our three with some little silver and white adornment. Xie Lian assumed it took the sword a lot of energy to turn because after not getting what he asked for he turned right back and didnt turn again for a long time. In truth Fengxin just doesnt care a whole lot. He turns mostly to pass the time with a scroll when he can and talks only as much as necessary during his time with Xie Lian. This is partially because the less he turns and talks the less likely he is to spill any secrets and while he isnt that talkactive to begin with he also isnt much in need of new friends to risk it. A very loyal soul. It also gives Fangxin some more old man vibes which just reiterates Xie Lians believe that, while a good weapon, Fangxin seems to be pretty old. Therefore he doesnt question it much and politly accepts the fact that Fangxin does not wish to converse with him when he turns and they just kind of co-exsist in the same space until Fangxin decides to turn back. Hes barely noticable really.

Ruoye doesnt like him a whole lot. Odd feeling about the guy. It might just be because they are very unalike in nature (if you ask Xie Lian at least) and Fangxin never quiet humored and of Ruoyes exploring or little rambles quietly refusing to engage.

Xie Lian has, much to his shock, has to find out that Fangxin isnt actually old or too weak to hold a human form for long after Jun Wu takes the sword back. Back where he truly belongs Fangxin has more the aura of a confident youth. In fact Fangxin actually quiet enjoys a good fight and is rather thrilled to finally be allowed to work at full power again. He isnt much less of a menace than his master. If I were to indulge greatly id imagen Fangxin actually rapidly switching between human and sword form in the fight for some cool moves but yall can decide that as you will. One way or the other with Jun Wu Fanxin is somewhat a reflection of who that man used to be. Confident, proud, strong and always excited to spar. Because i think thats neat and Fangxin is at heart still Jun Wus weapon. He is meant as such and I intend to fight anyone on that. This is also the reason Fangxin kept his secrets and played a low profile. Very loyal soul.

Suprise! More because nobody can stop me now!

The wind and water master fan:

I dont quiet remember if they were made as a pair in canon but they will be here, making them essentially twins! Very close twins to be precise. Whenever they get together you can be sure a little chaos ensues and they have much to talk about. I dont really have much of a mental image on them except that id think its cool if their outfits are complimentary? Like they do very clearly match but they dont wear the same thing. They did that fully on purpose by the way.

For the wind master fan I imagen its a lively fellow. While dutiful enough to know when to not turn and remain a weapon for safetys sake and that it should always stay close to Shi Qingxuan in case it it needed, it does turn pretty often. To an extent where most heavenly officials actually know the Fan about as well as the Master. They probably have regular chats too. I just kind of imagen whenever Shi Qingxuan is strolling through the heavens without anything to do the wind master fan is strolling right next to her matching her step. And you better be sure they find something to talk about until a task arises and they need to actually work.

The water master fan is a bit less lively but that is mostly due to Shi Wudu just not being as conversing (although maybe they do gossip together sometimes. Feels like Shi Wudu might gossip to his weapon because his weapon wont snitch) and its not like Shi Wudu has that many friends it could talk to instead. So when it turns its mostly to serve as a lowkey junior official or when it meets its twin and they can chat!

Funnily enough both of them actually picked up the habit of changing between female and male form (much to Shi Wudus building headache and Shi Qingxuans delight). Shi Wudu 100% thinks his brother set them up to do that, but thats only half true. While the Wind Master fan definetly picked up the habit from its master and passed it on to its twin, shi Qingxuan never actually went out of her way to tell them to do it. Nontheless the added strength to her ultimate goal of getting everyone in heaven to try it at least once has gained forces! She is very pleased.

After a certain Arc the wind master fan is having some emotional troubles with grief and death and also some scars. While theirs are more faint than Ruoyes because my brain registers this as a more "brought back from the dead" type of Situation than Ruoye for some reason they have more of them.

The earth master shovel:

The wind master fan has tried to convince them to show their human form many many times and failed many many times. No matter how much he would huff, puff or beg they never complied. Shi Qinxuan put that on the list of: "Why Ming-xiong should train using his spiritual weapons more often" because surely the poor thing just doesnt know how. They both find it unlikely it lacks the power to do so, this shovel can burry through anything! Surely it should have enough spiritual power to form a human appearance.

The truth is that, while technically able, He Xuan actually put some type of seal on it to prevent this. While he did get rid of the earth master he couldn't exactly dump his weapon altogether, but he had to make sure that his cover isnt blown instantly so he just had to prevent the thing from speaking. Easy as that.

Later, when with Yin Yu, the Earth Master Shovel had the seal lifted, but turning into a human form was still difficult. Even if it could it didnt use these legs in a long time and likely had to relearn a lot of things like walking and maybe even speaking because of the whole incident. Yin Yu likely helped with that when he could. They bonded a bit over that.

[margridarnauds]

fanfic writer emoji ask: ✍ 🎢 👀

✍ Do you have a beta reader?

For a while, I did, and they were and are great (we have not had a falling out! We are still friends!), but real life kind of got in the way for both of us, and that's fine. Sometimes, I do miss having someone look over my stuff so that I know I don't sound insane, but it's fine.

🎢 Which of your fics would you call your wildest ride?

I feel like "wildest ride" could mean so many different things. Like, content wise, just on the basis of it existing? ABSOLUTELY A Soft October Night, mainly because I don't think I'd ever gone as far as "Incest Murder Threesome" before. (I will make no promises that I won't do so AGAIN, but it definitely is a shocker from the usual.)

Though this is ALSO from the same creative team that brought you "Romeo has sex with the personification of Death on a crucifix" and "Ronan and Lazare have sex on a printing press" (which seems MUCH tamer compared to the other two), so, really, you can pick your poison.

As far as plot? Either The Midnight Mass or Pour la Peine, depending on if you think "Ronan discovers his old friends are zombies that want to kill him" or "The Thing that happens in Pour la Peine that changes the whole plot" is more shocking. (Personally, I am still REALLY proud of that twist in PLP, since I'd sat on that for years.)

If you're talking about in a crackficky sense? ...I mean. Goosefic. Goosefic. The fic that solidified my reputation in the 1789 fandom. If I say so myself, every single fic I've listed before that has some larger motivation for why it's Like That. Goosefic was just me reading a writing prompt and thinking "I want Lazare to get chased by a pissed off goose." And it is beautiful.

👀 Tell me about an up and coming wip please!

I don't think it's a SECRET I'm working on writing out my playthrough of BG3, or at least. Key parts of it. (I am NOT. Novelizing. An 125 hour playthrough. Yet.) I have about 11k words into it at the moment, but I'm not publishing a word of it until it's in a place where I know I can very likely finish it, or at least make a dent. We are NOT doing that thing where I just publish one chapter, hit a major bout of writer's block, and can't go through with it. (I can't make any promises for AFTER one chapter.)

It deals, primarily, with Kitrye's Happy Fun Times in the game, her ongoing verbal game of cat and mouse with Raphael, her relationship with her sister, and her relationship with her culture, as well as her overall development during the course of the game. (I don't really consider it a spoiler, given I put it in an actual gifset, that Kitrye breaks her oath as a paladin at one point -- there is a LOT dedicated to the circumstances around that and how it changes the game, even though that's a late development.) A spoiler that literally only you and a couple of people will understand and so I can give without any worry is:

"Ich will dich nicht, ich brauch' dich nicht. GEEEEEEEEEHHHHHHHHHHHHHHHHH."

(Honestly, thus far, it's looking like how I'm writing out every act is taking inspiration from something else. Like, if Pour la Peine and its related stories drew a lot of inspiration from the Evilious Chronicles, I would say that the third act in particular is very, very Elisabeth tinted if you know where to look; second act is looking to have at least one scene inspired by a very memorable moment from one of the branches of the Mabinogi; and the first act, which is still the roughest, is a little bit more up in the air, with all of them borrowing at least a LITTLE bit from The Last Trial.)

Of course. It would be much easier to work on it. IF I HAD MY GAMING PC THAT COULD RUN THE GAME SO I COULD DOUBLE CHECK MY FILES. MY CUSTOM MADE GAMING PC THAT I CHOSE EVERY SINGLE PART FOR SO THAT IT COULD BE A MONSTER AT RUNNING GAMES.

(I'm cool, I'm chill, I'm fine.)

Anyway, have the Symryvvin girls, out of context. (Malla 🤝 Raphael: Being in an eternal state of Done.)

[yurimultiship]

Fateful Encounter

For this Femslash February, I'd like to talk about ships I like through the lense of particular ship tropes.

But I'm already starting with something that's a bit up to interpretation for the ship I chose, with the notion of "fateful encounter".

When we think of that, there's an aspect of "destiny" to be taken into account. But when looking at it from more of a meta level, we could also perhaps be talking about the big encounter between the two main characters of a story that starts everything and is the basis/center of what the plot will be about.

So today the ship is Ai/Sarasa from Kageki Shoujo!!

Their meeting happens in the first chapter/episode, in front of a beautiful cherry tree. The two characters are about to see whether they'll be admitted to the Kouka academy, a school dedicated to the art of theater and the first step towards joining the Kouka all-female troupe, which references the real life Takarazuka Revue.

What they don't know is that there is a rumored curse about the Kouka cherry tree: anyone who stands in front of it before being admitted will never be a top star!

The scene starts off with Ai (ex-idol with a traumatic past, wants to join Kouka mostly to get away from the presence of men) being attracted by the sight of this lonely, beautiful tree. Someone calls out to her, talking about taking a picture and startling Ai who accidentally let go of her application paper, blown by the wind into the tree.

Ai describes the girl she sees in front of her as having long arms and legs like a graceful gazelle, sparkling eyes full of stars and more importantly being terrifyingly tall!

Enters Sarasa (otaku, wants to join the Kouka revue to play Lady Oscar from Rose of Versailles) who effortlessly picks up the paper stuck in a high tree branch with a beautiful and impressive jump, before turning back to Ai and asking her to take photos of her under the cherry tree so she can send them to her grandpa later. This leaves Ai quite baffled (since she probably feared someone was wanting to take her photo, as a former idol), especially with Sarasa being very, very energetic and taking poses for way more than one picture.

Of course, they are then admitted to the school. And of course, they end up being roomates at the Kouka dormitory! It's like fate is pushing them together or something, to Ai's horror because she is looking for peace of mind and can't really deal with Sarasa's bombastic personality at this point.

So it will take a little bit of time for Ai to warm up to Sarasa and for Sarasa to get past the barriers Ai has between her and other people. But despite being initially annoyed by Sarasa's antics, it's clear that Ai is also fascinated by her from the get-go. An attraction that will lead her to find new purposes in life.

While Sarasa does have a bit of a complicated boyfriend relationship with a secondary character, her and Ai are still very shippable. Sarasa references some yuri-flavored work that makes it feel like she could be into girls too and Ai especially is so easy to interpret as having feelings for Sarasa.

Outside of the cherry tree curse, there might not really be any in-story association of their encounter with "fate" but it still has such a great vibe of a life-changing meeting and makes for a beautiful and impactful first encounter, "romantic" in its aesthetic but also with a side of comedy that will stay present in their relationship. And the development of it that comes after that is as enjoyable, some of the content in the manga going past what the anime adapted even shaking things up between them in interesting ways!! From that very first meeting on, they are full of surprises.

[newmoonwastaken]

Completely Rewriting Trolls 2: World Tour because I was just forced to watch it and I think it needs a bit of improvement

warning: long post; major spoilers for both Trolls movies

So first off, it’s a cool concept but it does NOT make sense in the existing Trolls franchise. I doubt the ogres or whatever are just a small part of the Pop-Trolls’ area, considering the travel montage featured in the first movie. Additionally, the ogres-or-whatever like music as much as the Trolls, so having them as a totally different species on another part of the map doesn’t really make sense. So assume this all takes place in a completely different universe. (I’m keeping the names the same, though, to avoid confusion.)

So it can start off the same - introduction to the completely new Techno-Trolls subspecies and society. Keep the king of that place and his autotune-greeble-thing: they’re pretty good and nicely sum up that area.

When the Hard-Rock-Trolls arrive, have the Techno-Trolls be really wary and insular. Like, really wary and insular. Have them set up a lot of defenses unprovoked. This will help to reinforce the main message (putting aside differences is optimal for any society).

The Hard-Rock-Trolls can still seem evil at first, but don’t have them outwardly express world domination plans. Bart’s plan to steal all the strings still exists, but it’d be best (in my opinion) to try to pull a Lego Movie 2 and make her a reverse twist villain. A twist hero, if you will. The movie goes as always, with the Techno-Trolls being nowhere near prepared for an invasion of such a scale, and having the subspecies abducted to the Hard-Rock-Trolls’ domain.

Cut to the Pop-Troll-Village or whatever. Reintroduce the characters, keep Tiny Diamond if you so insist. This is a kids’ film - a little bit of filler characters being cool is ok.

Poppy receives the invitation from Bart. She is highly trusting and replies in a way that offends Bart when it is received. Branch thinks she’s kinda sus, yada yada. Mr. Previous-Leader-Of-The-Pop-Trolls-Or-Whatever-His-Name-Was tells Poppy a bit of exposition about the Strings, where it is explained that fighting amongst themselves split up the Trolls, and also (for a bit of worldbuilding) explaining that the most powerful 6 genres of music at any given time own one of the strings. This will explain the Disco-Trolls reference later.

Poppy and Branch go to meet Bart, The British One is a stowaway, Cooper finds the open scrapbook and tries to find his kin, yada yada.

Upon arrival at the Pre-African-Influence (classical, baroque, etc) Domain, it is revealed by a surviving instrument that the Pre-African-Influence-Trolls suffered a similar fate to the Techno-Trolls (although of course they don’t know about that). Poppy offers to help, but the instrument refuses on the basis of different music tastes.

They move on to the Country Domain, in which they attempt to cheer up the Country-Trolls. That scene is fine as-is, as it once again reinforces the point. They are once again rescued by Hickory, a.k.a. the Yodelling-Trolls in disguise, as bounty hunters serving Bart.

Speaking of which, the Bounty Hunters are offered some payment vaguely described as meagre instead of the tiny plot of land which reinforces the idea that Bart is evil during that time. The Bounty Hunters themselves are small populations of Trolls who preside over genres too niche to earn a string for themselves. These are not the only smaller communities of Trolls, it should be noted.

Back with the protagonists, the usual disagreements ensue. This can be kept pretty much the same, as it reinforces the main theme. However, it’s more focused on Poppy’s lack of acceptance of the other genres.

Cooper finds the Funk-Trolls, and soon so do the protagonists. Cooper’s-brother-or-whatever-he’s-called does the explaining of the previous aggressive actions of the Pop-Trolls, and the Funk-Trolls act significantly more on this presumption, so the protagonists are ejected, just before Bart and the Hard-Rock-Trolls attack. 

Arguments between the protagonists ensue, and they stumble across a series of much smaller communities, hiding from the Hard-Rock-Trolls. They are revealed to be even fighting amongst themselves, with Trolls who prefer (for example) one artist over another getting into massive feuds. Poppy tries to calm them down but ends up joining in, despite Branch’s protests.

In the middle of this fighting, Hickory’s identity is revealed and they are all caught by the Hard-Rock-Trolls. Bart takes the final string and it does not change colour as it is strung onto the guitar. The other Pop-Trolls are revealed to also be there.

Fast-forward to the concert where Bart is about to play the Power-Chord-or-whatever, which is designed to eliminate discrimination between the Trolls. At the last moment, Poppy breaks out of her bindings and smashes the guitar, destroying the strings.

Bart’s not-evil intentions are revealed, and Poppy is revealed to have been the antagonist all along. Everyone is quite rightly angry at her for eliminating the media for the domain that the species presides over, and the other Trolls realise their own mistakes.

And then to not have it end in tragedy it is suddenly revealed that, as gods of a sort over the domain of music, the Trolls do not require any special media to create music. In fact, much like humans, they can create music with anything. And, since it’s revealed that all the trolls have perfect pitch, proficiency in at least one instrument and decent-ish knowledge of music theory, they create the world’s biggest crossover and have a great big jam session together. And they don’t make it in freaking F major.

So yeah, that’s it. I’m going to sleep.

[literateleah]

the paradox of emily prentiss’ audience perception and character design

some of y’all about to be real mad at me, but it must be said:

emily prentiss’ character design makes no sense: my personal opinion + an objective analysis

i think it can be challenging to separate the versions of characters we have in our little brains from actual canon content, but doing so is important for understanding what those characters are truly like, especially within the context of their environment and in contrast to others around them. plus developing a deeper understanding of the media we consume is super fun and interesting! with that being said: emily prentiss should not work for the fbi and here’s why (in three parts regarding who’s responsible: cbs, paget, and fans) (sit down and grab a snack i promise this is over 3k words)

quick disclaimer: i don’t dislike emily at all! that’s my girl, i just looked closer and realized some funky things the writers did and felt the need to analyze her of course: so let’s get into it

part one: what cbs did

cbs set the stage for emily’s introduction on the heels of the departure of lola glaudini as elle greenaway! lola has clarified that she decided to leave the show because filming in los angeles was not the best environment for her personally, and after one successful season on a major network (but not much established long term plot or drama beyond elle’s departure as a character) a consistent ensemble cast was required- particularly because the bau had been criticized for being predominantly male in the first few episodes of the show and not much development was given to penelope or jj yet. enter emily prentiss.

for the duration of seasons 2-3ish, emily was framed as a chip off the block that was elle greenaway, just slightly…richer? in her first few episodes emily was hesitantly polite but ambitious, clean cut, intellectually concise and held her own within the team. she seemed equal parts intimidated and frustrated by her male superiors (gideon, hotch) but certainly proves herself among other profilers. her childhood was explored only within reference to her strained relationship with her mother (which was only ever referenced once more after the fact) and we received a short overview of her educational and career history in her first few episodes. emily fit right into the hole elle had left, and didn’t have many major storylines yet.

seasons 4-6 brought a bit more development and depth to emily’s character! she begins dropping more snarky remarks, one liners, and socially deepening her relationships with the other team members. this seems more within the lines of elle’s design, but emily arguably took more time to grow into her place within the team. during the foyet arc she was vulnerable and supportive, and the doyle arc gave her some independence and agency she didn’t have previously. this era also solidified her appearance and persona as more edgy, which falls in line with general fanon perception of her character (especially when compared to jj or penelope). i can’t address this era or season 7 without mentioning that cbs was actively trying to remove paget from the cast, similar to how they did to aj cook as well. paget has spoken about this instance before, and i believe it slightly affected her portrayal of her character, and “lauren” was somewhat of a goodbye for both paget and emily (thus why she wished for mgg to direct since they were best friends).

season 7: in my opinion, one of the best seasons for emily. she was wisened and deeply wounded by her experiences with doyle, which was understandable of course. she returned to the team she loved and learned to appreciate life in a different way, remaining mature during this time period as well! though her departure was a bit less than graceful and sudden at the end of this season, it made sense compared to some other exits the team had seen.

now *sigh* all the rest.

paget as emily appears in two separate guest appearances (once in s9 and once in s11, and she is referenced offscreen as well) before permanently reprising her role as unit chief of the bau. these appearances were most likely to boost ratings and get the team back together (i.e. 200) or just to pepper in international cases (tribute). emily’s personality remains pretty consistent here, just more mature and comfortable in leadership positions (seeing as she is running an entire branch of an international law enforcement organization). then season 12 hit.

upon the departure of thomas gibson as hotch, cbs reached out to paget to see if she would be interested in fulfilling her role as emily within a longer term unit chief position. i’ll get into why this is wack in a few paragraphs, but the remainder of her time on the show is spent on a mature portrayal that seems very distant from her previous versions. emily is more authoritative, gives orders with ease, and has no qualms about leading a team of agents or even receiving promotion offers as director of the entire bureau.

thus concludes a general summary of the canon content cbs gave us as viewers. now let's talk about what they didn’t give us, regrettably

the primary aspect of emily’s design that comes to mind for many is her queer coding. though not much was to be expected from cbs, a prime time cable tv network, each of her relationships on the show (all with men) seemed oddly forced, and without much chemistry as compared to the SOs of other main characters. rumors of scrapped plotlines have floated around about what may have been, but the ultimate lack of acknowledgement of any queer characters in the main ensemble still leaves a feeling of disappointment to audiences, and leaves more to be desired as for how emily navigates social bonds.

part two (sidebar): what paget did

i think it could be agreed within audiences that paget brewster’s portrayal of emily made the role what it was! her dry witty delivery and emotional prowess combined with sitcom acting experience made her performance a mainstay for years. i think she did the best she could with a confusing and at times flat characterization, and brought the role to life.

paget also heavily contributes to fanon indirectly with her comments outside of the show (press, cameos, twitter etc). her general continued interest and fondness for the role post production affects fan perception, particularly in what she chooses to elevate and comment on. she and aj have both spoken about viewing jemily content, and paget and thomas have both also commented on hotchniss. most cast members feel free to comment on their characters in the appropriate timing, and seem open to discussing fanon ships and theories outside of canon!

part three: what fanon did

as we can tell from this fan space as well as the presence on insta, tik tok and twitter, fans LATCHED onto emily super quickly. she’s remained a favorite over the years, and this fan persistence is what brought her back so many times after leaving (so many times). in my opinion, queer coding and a bolder female trope (in contrast to her female counterparts) are the main pulls because they resonated with so many fans- new and old. with that being said, newer fans of the show in the past year in particular have been heavily influential in fanon, solely because of the large influx of fan content and popularity of it.

fan content began to take coding and bite size moments and snippets from the show as canon, and cemented it into much of the content and discourse they created. these small pieces of emily’s character are significant, but have become magnified by how easily they are to share and edit. for example, a collection of catchy one liners from emily over the seasons makes for a great video edit intro, or gifset! there’s absolutely no problem with this content, it just all combines to create a certain fanon perception no character escapes (this isn’t a phenomenon limited to emily or the cm fandom!)

these droves of content also solidified emily’s personality as much more defined, but at the same time, simplified it in a way that’s slightly harder to explain.

fanon: more emo/goth than canon basis

fanon: more introverted/anti social than canon basis

fanon: more violent/chaotic when canon emily is relatively well mannered and doesn’t start many conflicts (particularly in the workspace)

fanon: much less maternal when canon emily displays desire on multiple occasions (even crossing professional borders) for children, particularly teenage girls (possibly projection)

(again, nothing wrong with this interpretation at all and it still varies! This is just a generalization based on most of the popular content i have seen)

part 4: why it doesn’t work

let me start with this: emily prentiss does not like her job.

we don’t receive much in depth information about emily’s internal feelings and thoughts towards her mother beyond resentment. this stems from wanting to make it on her own, as a professional and as an individual (cough cough college deposits). this makes emily’s insistence on proving herself to authority figures in her earlier seasons is interesting to watch in different circumstances. she cites her experience and denies help from her mother when justifying her placement in the bau to hotch, she is extra vigilant about being helpful on her first case with gideon, etc. nevertheless, emily forges her own path outside of diplomacy and becomes a successful profiler and agent, with the help of her privilege, wealth and name whether she likes it or not. but if we read between the lines and fill in the blanks cbs neglected, these ambitions may subconsciously be oriented towards pleasing her mother.

example one: emily’s authority issues go further than just “rebellion” or “anarchy”, she frequently questions the ethics and sustainability of the work that the bau does. every team member does this, but emily much more so than anybody else.

in “amplification”, emily almost breaks federal protocol to inform civilians of anthrax threats. she butts heads with both hotch and rossi on this front, and ends the episode with having a conversation with rossi about the ethics of lying in their line of work. emily resigns to a solemn “it be like that” and moves along, accepting this reality.

on multiple different occasions emily laments to derek about the darkness she sees on the job, and it’s shown that this gets to her quickly on particularly bad cases. this is another contradiction of the design that she can supposedly “compartmentalize” better than others on the team, when she cannot unless the lives of others are at risk (doyle arc, s7 finale).

emily also responds in this way to many cases involving children, a similarity to jj many don’t notice upon first watching the series. “seven seconds” and “children of the dark” come to mind, during the latter in which emily is prepared to cross multiple professional lines to adopt a teenage girl left orphaned by the case, until hotch stops her and establishes that her emotions can’t rule her judgement on the job. regardless of hotch’s thoughts about her attempted caretaking abilities, these actions and impulses deeply contradict the typical bureaucratic pathways of the work the bau does.

the looming reputation of her mother’s diplomatic history hangs over emily, and after going to law school and working for the cia, she most likely did want to forge her own path as far away from being a socialite: being a spy. her inner nature doesn’t always reflect this profession, and leads me to believe that with her knowledge of psychology, law procedure and care for children: emily prentiss might be more inclined to working in social work, placing suffering children and teenagers in homes they deserve.

and finally, the hill i will die on: emily prentiss was an bad unit chief

this wonderful post touches on my general sentiment, but there were many reasons as to why emily prentiss’ career arc makes little to no sense (plot holes included).

first: her background. emily attended chesapeake bay university as well as yale and achieved a ba in criminal justice. keep in mind that though timelines evidently don’t exist in the cm universe, emily prentiss is ONE YEAR older than aaron hotchner (for context). in her first episode, she professes that she has worked for the bureau for a little under ten years in midwestern offices- something the audience laters knows to not be true. emily worked with the cia and interpol as a part of a profiling team and undercover agent up until roughly TWO YEARS before her canon introduction. plot holes and time gaps aside, this makes me wonder, why didn’t she just say the cia was a backstop without revealing the highly confidential nature of her work with doyle (similar to jj’s state department backstop and cover story)? penelope or hotch could have easily accessed her file and seen that she did not in fact have experience with the bureau in midwestern offices recently, and given the fact that erin strauss set up her bau placement, i’m presuming these formalities or references were overlooked.

second: her experience within the team. emily worked as a part of the bau with the bureau for roughly 6 or 7 years. after this, she is invited to run the entire london branch of interpol, one of the most renowned international law enforcement organizations. i’m surely not the most knowledgeable on requirements or standard timelines for such matters, but with the fact that emily had never led a team in her life (not in the bau or interpol previously) and had roughly 10 years of field experience, i don’t believe she would have ever realistically been considered eligible to run the whole london department.

third: her return to the bureau. fanon depiction of their relationship aside, if you believe aaron hotchner’s last wish before going into witsec was to entrust his team to emily prentiss, you’re dead mistaken. bringing emily back was clearly a pull for ratings after the loss of two main characters (hotch and derek), but logistically a bad decision. let’s suppose emily has had 4 or 5 years of experience in london now, this established authority position would be unlikely to change at the drop of a hat, even for old teammates or friends. also considering how close they were after a decade of working closely in bureaucratic and field contexts, i firmly believe hotch would have referred jj for the job of unit chief but that’s another discussion for another time.

emily’s reign as unit chief is odd, because of the many chaotic storylines crammed into it. but amidst bad writing and viewings plummeting, emily’s character is completely flattened. completely. emily is unrecognizable, both in appearance (that god awful wig) and personality. at times she acts as a complete wise authority, giving orders and delegating local authorities as hotch did. but at other times she makes multiple illegal, emotional, and incorrect judgement calls based on personal circumstances that lead to further chaos (deleting the recording of her and reid’s mexico conversation and reprimanding luke in “luke” for the exact same thing she did in season 6 even though she enabled her to do so come to mind).

i’m not sure if this is due to paget trying to find her footing in the role again, or the writer’s bad decisions towards the end of the show wrecking any previous design for their ensemble. then, there’s the infamous “wheels up” scene in s13e1. notoriously cringey, this seems like a vague caricature of something rossi would say many years in the past (the same goes for her pep talk in “red light” in the hunt for diana reid). these moments are meant to mature emily in the audience’s eye, but instead completely removed her from who we understood her to be, and made her an unreliable leader.

part five: and why it does

in theory, emily was a bolder foil to jj, similar to elle who she arguably replaced at first. she came into her own, and stands as a more uniquely developed character than almost any other in the main ensemble. she isn’t as maternal or domestically inspiring as canon jj, less bright and sunny than penelope, not quite as stoic or intimidating as derek or hotch. And yet at the same time, she’s a fairly blank slate. stripping fanon content away entirely, canon emily has few defining traits (all of which are constantly changing), and that may be the key to why we love her so much.

[scrawnytreedemon]

Shit I’ve Been Winding Up For A Long Time Now But Am Very Aware Will Probably Hold No Relevance Should I Actually Go Into This More--

This is about Bhunivelze.

I.

You know, when I was chilling out, on my bed, that evening on that half term in early June, deciding to check up on ClementJ64′s FF retrospective because-- Hey! It’s been awhile, I wonder if he’s got around to doing the final bit of the FFXIII saga --You know, I was there, chilling, just for a laff. Just a laff.

The rest of that week was spent spiralling into a hyperfixation I absolutely did not anticipate in any way, shape, or form, because the way they introduced that character was “wwhdhfjjhHJDFJKHKJHW H A T??”

That retrospective and a good amount of wiki-scrounging is all I have as a basis for this. This is not a coherent character analysis-- Though I might tag it as that for ease of access. This is not, by any means, the thoughts of someone deeply familiar with FFXIII on the whole beyond plot synopses and overarching themes.

I don’t think I’m brave enough for that.

Reading the vast yet surface-deep lore on those wiki pages on my birthday while in a delirious state of mind was enough to make me somewhat nauseous.

Do you think I’m going to go through all of that in real time?

(Someday, someday.)

Ugh, I don’t know how to begin, but let us, I guess. I’d recommend you read this church-mime-demiurge’s FF Wiki page if you want the same level of base-knowledge I had, and maybe the aformentioned retrospective if you want the experience, because I don’t think I have the wherewithal to get into all of that from the bottom-up.

I am also, so, so fucking sorry for any remaining FFXIII fans in advance. There is like, a good chance I may be butchering the characterisation completely, so bear with me here.

With that... we begin?

Where do we even start with this guy?

How on earth to you begin to explain the absolute monolith you’ve constructed from crumbs of a Guy, some material no doubt spliced in from the Pale King, Sephiroth, y o u r  o w n  G o d  O C and other characters, and the mountains of religious trauma you carry around at all times that is probably the only reason you’ve been able to latch on as hard as you did?

I’m going to try.

What gets me, in summary, about Bhunivelze is how he’s a prime example of how love and concern can become deadly forces if in the wrong hands. His first acquainting with human emotion was by deceiving and possessing Hope, reverting his body to a teenage state, and planning to live among humanity through him. He sees human sorrow and suffering, and decides that, to End This(because it must be ended, you see) he’s going to destroy all the souls of the deceased that make up the Chaos that’s been eating this world for the past five-hundred years so they all forget and Are Happy. :).

Capital G God here hasn’t been present for the vast part of human history because he’s hidden himself away from Everything due to paranoia from killing his own mother and throwing her body into the Cosmic Basement, THEN creating the beings that would come to create humanity and OTHER beings because he didn’t have the keys to the cosmic basement. And also he believes death is a thing because she’d’ve somehow cursed all things to pass(including him) out of Spite.

Which explains why he’s so fucking averse to it and anything to do with it.

Bhunivelze, to put it lightly, is Shit at stepping into others’ shoes and Getting their experiences-- All the FalCie in FFXIII are, but him especially. It’s clear(again, in the f u c k i n g JP--) that he makes attempts to sympathise with them and does what he can to help, but it’s with such a loftiness and a complete inability to Understand why anyone would want grief, The Worst Fucking Experience In Existence, and even less why they’d be willing to Go Up Against Him And HisThe New Perfect World just for it-- And what would it matter, anyway, forgetting their loved ones. It’s not like you can grieve lost memories, right?

Right.

It reminds me of when at the end of the story of Job in the Bible, where, after putting this man through hell on earth, God rewards Job by giving him ten new children to make up for the ones that he lost. I. And that’s fucked! Nothing can replace the sheer uniqueness of each individual person you loved so dearly! But if you were a nigh-omnipotent deity high and mighty, with a cursory, almost mechanical knowledge on the functionings of the human psyche, that would seem adequete; enough.

Bhunivelze is doing that on a cosmic level.

I now want to get onto the romance: that being, his affections for Lightning. I don’t know how much I’m going to say, but it’ll probably be alot. It’s something that hits very close to home.

There is this... thing, within certain branches of Christianity, perhaps even in those of various Abrahamic faiths, where God’s love is posited to be the love-- The ultimate, most-fulfilling, all-encompassing love you could ever imagine --Because, well, he is love, so the story goes, and so often the best way to convey that is through the imagery of...

Marriage.

Giving up yourself so completely, to serve, to be the Bride; to be bound by him for all eternity; and for there to be no higher bliss than this.

This angle is pushed on young girls and women the most; from the mere parallels to the woman’s role in marriage, all the way down to downright-horrifying ultra-Evangelical purity pacts. With men, God is your dad, your best bud and confidant, your boss, your king, your this, your that, and the ‘marriage‘ as it were is relegated to a sort of half-thought; a metaphor.

For me, God was an attempt at all that, and my arranged groom.

(It was almost incestuous; was incestuous, that my own Divine Father would reach for my hand in marriage.)

Bhunivelze experiences Emotions™ for the first time through Hope, experiences Hope’s sheer overwhelming admiration for Lighting(whether there were any baby-crush feelings mixed in, I can’t say), and promptly falls into a nigh-romantic obsession with Lightning, deciding that she will be Etro(his all-but daughter)’s replacement, will be his Goddess of Death to-be-- He even calls her as such, before the final boss-battle--

...In the JP.

What happened in localisation, probably due to a number of factors, all the way back in early 2014, was that everything emotionally challenging about Bhunivelze was scraped off, like it was extra fat, and tossed aside, leaving us with the bland, clichéd shell of a foe-god we’ve seen time and time again. And I mean everything. I mean his very love for humanity; the fact his ploy was, in his eyes, to save them. Because if they’d left that all on, then it would raise the question of even if there was such a seemingly pure, all-knowing, loving being hell-bent on setting things “straight,“ would they truly be unquestionable? Would we have the right to fight for our humanity in the face of the Creator of the Universe?

To reject a love so personal?

That’s what gets me about FFXIII’s tackling of God, no matter how hackneyed and poorly-executed. It’s personal.

It’s from a feminine experience.

I know that terming is... vague, and problematic, but the way Christianity and much of the video game industry handle femininity itself is weird and problematic, so as it stands, I’ll have to simplify it. Apologies.

What sets FFXIII’s Let’s Kill God™ plot aside from most JRPG Let’s Kill God™ plots is that with our protagonist being a woman, and one who is very in touch with her femininity alongside her sheer strength; often, in these stories, God is reduced to Yet Another Foe, expected or unexpected, and you are tasked with taking him down unquestioningly for the Good of Mankind-- You will fight God, because you are right to, and you will go man-to-man-to-however-many-men you decide to bring along for the bloodbath.

And that just, doesn’t speak to me.

Even as an Extian.

Especially as an Extian. And an AFAB one with a deeply complicated experience with my gender, at that.

Leaving Christianity was painful. Questioning God was painful. Coming to terms with the fact that I had been mentally, emotionally, and spiritually traumatised under the guise of All-Encompassing Love was so, so fucking painful. I had been taught since I was five years old to devote myself to him, spent my life desperate to feel something, anything, to stay connected because I just, I never could Feel It on a deeper level, never could Give Up Myself, all I was, couldn’t Die A Spiritual Death And Be Reborn As His Eager Vessel, thus deeming myself to be worthless and a broken vessel for years and years on end... And for all that to have been... Nothing.

Lightning is hollowed out, the shards of her dead sister ripped from her in-stasis, leaving her emotionally numb for the majority of the game, Bhunivelze sweeps it under the rug, pretends he’ll perform a miracle and return Serah to life in exchange for her compliance, then sends her on her way to do his work, all the while knowing he’s going to pull said-rug from under her and elevate her such dizzying heights in the aftermath--

That he’ll deny her humanity.

Sand down all the rough edges that make her her, and polish her up afterwards, gild her as he is gilded, make her a Goddess.

And he’ll do it all because he loves her.

You can’t fight God like you can everything else. To fight It is the fight Existence Itself; FFXIII even conveys that by making Bhunivelze’s model part of the arena; it’s baked into the fabric of the game, no matter how minute.

While Lightning Returns is far from perfect in its execution of this concept, and that in itself makes me wince, not even taking into account the horribly botched excuse for a localisation Bhunivelze endured, it speaks to me more than anything else I’ve seen so far.

And it’s helped uncover some things within me. Helped me untangle them, just a little more.

So, yeah. I have alot of Thoughts on Bhunivelze, I want to share them, and I’m kinda really sad I have no one but my currently-absent friend Vee to share them with. I could get into alot more, like his very Fucked relationship with familial bonds, and how Lightning’s role as saviour so deeply parallels the overwhelming panic and never-ending guilt of Evangelical proselytisation, but I think I’ll leave those for another time.

In short, Bhunivelze is the epitome of Divine Love gone deeply wrong; on all fronts.

And if all of that isn’t enough to intrigue you, then, in Vee’s words, Lightning and Velze are literally canon endgame Sefikura lmaOOOOOOOOOOOOOO--

[alistonjdrake]

June’s World Building Cheat Sheet Part Nine: Multicultural

I kind of touched on these subjects before but as I’ve been doing lately I’ve had more thoughts and I want to do a deeper dive. 

Honestly while I’ve been thinking about this for a while and briefly mentioned it in a previous post, it really hit me when I was playing Crusader King’s 3 and my character became the Norwegian-Irish Emperor of Britannia and France, and a lot of my subjects had some qualms with my cultural identity and as I watched areas of England get Norwegian-nized and names changed I started thinking about cultural markers. 

To put it simply, a “cultural marker” is basically just something to quickly pinpoint where someone is from or what their heritage is. Of course these are not always super specific and there is overlap. Like, me saying I speak English does not immediately make it obvious that I’m American. But if I talked about what I grew up eating, regional slang, some things people wore commonly, you would probably be able to narrow it down. There’s also what I tend to refer to as the stereotypical cultural markers so if someone was to say “I’m from X” what’s the first thing that comes to people’s mind that they relate to that place and that culture?

I also started thinking deeply about language and language as an extension of someone’s identity. This also stood out to me in the case of empires or in places were dozens of cultures have blended. At some point, language either is or isn’t an extension of someone’s background but the language someone does speak can say a lot about them or the area they grew up as I mentioned in my last post with regional dialects or when a certain language might be considered the “default” among some characters.

Now, as always, I have to say I do not think it’s extremely pressing to give fantasy cultures so many layers. I don’t think it’s always necessary to have a throwaway line about people speaking multiple languages in your metropolitan city or the fact that the culture is either not a monolith on its own or new people have moved in. Do I think it spices things up a little bit? Of course. That’s why I’m talking about it.

The lack of especially falls short to me in settings, as mentioned, that are empires or densely populated or considered “centers” of the world. How many times have I read a fantasy university or guild settings or these expansive cities and all the characters were more or less from the exact same place, all spoke the same language, pretty much ate the same things, and had the same opinions on anything not a huge plot point. 

So Let’s Talk About Language (Again)

I’m not gonna lie. My nerd brain loved it when my Norwegian-Irish emperor took over England and instead of the names of familiar places changing completely they were just changed to sound slightly more Norwegian while still looking enough like what it used to be. I am upset with myself for never considering this before in my own work or thinking about it when I craft fantasy worlds, especially in settings where one group or place takes over another. The language would change or there would be shifts due to either

The sounds for the original thing they’re trying to say do not exist in their language

That’s simply how they pronounce it

Maybe they were feeling frisky that day and decided to change it just because. 

I think we see this most often especially with borrowed words. When a word more or less exists in several languages maybe because they’re taking on a title or a position, it’s not so much that the word changes but each one has to put their spin on it. Not always intentionally it might just be how they say it given either the limitations of their own tongue or how they heard it. 

In my last post I began to touch on this with the introduction of people speaking the same language differently in my Grazan Escan vs “regular” Escan dialect (the basis of this discussion just that people who live in Graza in my setting speak the language slightly different than non-Grazans which sometimes makes the language hard to understand for even native speakers). Last night I had another breakdown about how much I hate the common tongue and the concept of the common tongue and I’d like to also mention that if there is going to be a “common” language in a setting, I myself tend to use Escan as the common language because Escan is an imperial nation and have intentionally spread their language all over the place so a lot of my characters speak it, I think it is important to have some context as to why a language would be so widespread/ common. Someone would have had to go to these far places and teach people how to speak this language (and somehow walk away with it having no regional differences). Why would people in this setting think it a good idea to even learn this language if they have their own and rarely communicate with people outside of their community? What is the impact of a character having to take up another language in order to? In my recently finished draft of The Night Court, due to my own temporarily fleeting memory I forgot one of the main characters was going to a place where he could not speak the language and spent that entire half of the book asking for translations and not being able to speak to certain characters directly. Which, now that I’m done with the draft I appreciate more because I’ve definitely been in situations where I’m in a new place and my poor planning and education made me the only one who couldn’t speak the language and I had to have friends help me.  

This is where language as an extension of identity comes in. Could this character have assumed that his first language was dominant enough where he could travel to new places and not have to learn anything else? Or was it just bad luck and now he feels isolated in a setting where he cannot speak to anyone? What are the implications behind someone’s first language based on where they live? I just wrote two posts now talking about Prince Toli of the Escana Empire’s first language not being Escan and how that impacted his early life and how he appears by the time we meet him in the books. What does it say about the world characters live in where what language they speak and what language they learned to speak first has such an impact?

And in the reverse, what is the perception of someone being multilingual? It is expected in a setting? It is a bonus? A requirement of certain jobs or positions? A necessity to live in certain areas? Given how much court intrigue and political scheming I write I tend to have characters switch languages to avoid spies or eavesdroppers but on the other hand it’s also easier to make new allies if you extend the branch by speaking their language. 

Are there official languages? Court languages? Trade tongues? Coded languages you’d only learn for very specific purposes? 

Clothes And Culture: Sumptuary Laws & The Fashion Police.

This is a point I missed completely in my fashion post and I’m sorry about that. As with all my “advice” I feel it important to note I don’t ever expect anyone to go the extra mile nor do I usually think people need to. These are just things I like to sprinkle into a setting to give in breathing room or background information so it doesn’t feel like it was created just to serve a story purpose, but that it’s a world people live in. 

On that note. I’m very passionate about clothing. I’m encountered a lot of fantasy fashion in my day and I understand why people don’t ever find it relevant to mention certain things but as my setting is a late 18th century world in which the common people are starting to realize that royalty kinda sucks, it’s something I can talk about.

Like, the extensive labor that goes into making sure my royal characters have 100s of different outfits. Fashion is cheaper than its ever been but that was not always the case. There’s a reason why often see people in ye old days with only like 2 outfits for any given occasion. Characters and people who had constant changes weren’t just fashion forward, they were showing off wealth whether or not that was front of mind. To give some context as a lover of historical fashion and beautifully detailed garments, I did some quick math to see how long it would take me to recreate one of my favorite gowns by and. Given the intricate details, all the delicate beading and lace and all the fabric I’d have to buy (I didn’t even get into costs) it would have taken me at minimum 50 years. 

Now does anyone need characters going around talking about how Princess Zurina is wearing a gown that would have taken one man 50 years if not for the staff of seamstresses who likely work on her wardrobe? No. If a character in a setting is a seamstress or if the story has anything to do with wealth distribution and the extravagance and waste of the super rich, sure maybe throw it in there. One half of the book I’m working on is about political cartoons criticizing the royalty and wouldn’t you know if I go back to the time period I’m basing my work off of, you can find a lot of jokes and slights towards outrageous dress because people back then understand the labor that went into these garments. 

This is where I’m going to mention sumptuary laws. Basically, whenever I do my dives into fashion history I’ll find a lot of policing towards the way people dress. I mean we still have them now but maybe they’re not as apparent to us? And a lot of them used to be more class-oriented. One should not dress above their “means” or status which is where we get certain fabrics or colors meant only for certain types of people. But it also happened in the reverse where certain groups are designated things to wear so other members of the community know who and what they are. People not being allowed to wear certain things either because they would be related to deviance or offensive. Like characters in my setting cannot wear any shade of green around the king because dark green is the Escana mourning color and it would be considered as cursing the king to die.

Are there punishments for wearing the “wrong” thing? Is exaggerated wealth or having too many outfit changes something calls criticism if the character is at the top of the food chain (or maybe criticism them no mater social standing)? Are there any unwritten dress codes in a setting that people unknowingly follow? In settings where multiple cultures might exist or people from different backgrounds exist in the same place, do their choices in dress reflect cultural markers? And is there a stark difference between traditional (to a culture) clothing and modern dress? 

I think really I’m spewing this out because I want to see more culturally rich settings that reflect some of the stuff that I think is the most interesting things about a person which is what they wear and how they speak. But again, this is a personal preference and it’s just stuff I think about. 

[adifferenttime]

Honest Hearts: A Rough Rewrite

Hey! I’ve been working on an Honest Hearts rewrite-type-thing for a bit and figured I’d solicit feedback/assemble a post to store some of these ideas.

A detailed explanation of the premise is under the cut, but I’ve made this as a more interesting reintroduction to major locations, along with the characters who live there. I also have some lore consisting of letters, scripture, and holotapes that’s still in the early stages, along with a complete companion wheel for Salt-Upon-Wounds (he’ll follow you around for a little if you decide to help him out). Endings are now finished as well. I’m not planning on expanding this into a full mod, but I’m assembling everything in Twine so I can utilize branching dialogue and mimic skill checks.

I want to keep adding to and editing this because I’m having fun with it, so if you have any input, let me know!

Essentially, the story proceeds as written up until the point where Daniel sends you to either kill the White Legs or destroy their war totems. You quickly realize that their camp is deserted, at which point Salt-Upon-Wounds ambushes you, convo-locks you, and tells you that there’s an entirely different side to things here that you might not have considered.

Factions

The Mormons have established a theocracy in the Utah called Deseret, with New Jerusalem - what was once Salt Lake City - as its capital. Large numbers of them survived the initial apocalypse due to their pre-War focus on strong community ties and disaster prepping; over time, they have returned to the model of self-sufficient agrarianism that characterized the historical Mormon state of Deseret that existed in Utah in the 1800s. Their President, who wields supreme executive power, is also their Prophet. The Mormons believe he communes directly with God, but there’s some discontent in New Jerusalem over his hands-off approach to foreign policy and unwillingness to assemble a standing army. The Elders of the Priesthood are pushing him to allow for some kind of formal military to oppose what they see as revived versions of their ancestral enemies: America, Rome, and the “Lamanites” (this is what Mormons call Indigenous Americans; the “Lamanite” idea has historically been used as a justification for racism, and I’m reflecting that here because it’d be kind of heinous not to). In more than a few respects, Deseret serves as a mirror to the Legion and an exploration of the other side of the coin re: the tactics utilized by colonial empires to present themselves as legitimate while still claiming territory and steamrolling the opposition.

The White Legs are now more explicitly Shoshone, and I’m relying most heavily on the Timpanagos Band for names and historical inspiration (apparently the question of whether they’re Ute or Shoshone is pretty controversial, but I’m sticking with what the Timpanagos have said about it until someone corrects me). After migrating south in the wake of the Great War, the White Legs eventually settled in Ogden, about a day north of New Jerusalem. Initial interactions with the Mormons were friendly, but as New Jerusalem grew and its need for farmland and resources increased, tensions rose before culminating in open violence in around ‘76 or ‘77. Deseret’s party line is that the White Legs conducted a “raid” on one of their settlements and had to be driven away from Ogden; the White Legs claim the violence was not a raid, but a revenge killing after a Mormon killed a young man and was found not guilty by Mormon legal authorities (this is a theocracy, so “legal authorities” here can be understood as indistinct from “the church”). The Mormons established a new settlement on the ruins of Ogden, which they called New Canaan, and the White Legs fled to Salt Lake, where they have been dwindling in number ever since. Salt-Upon-Wounds’ plan to seek entry to the Legion is a last-ditch attempt to save his people from eradication when their neighbors and the land itself seems intent on killing them (not that that makes all the war crimes ok, which is a sentiment you’ll be able to express to his face if you engage him in conversation).

The Dead Horses are a pastoral society from out of Dead Horse Point, and are split almost down the middle along political lines. The more conservative, religious side opposes intervention in Zion. Graham desecrates the corpses of his enemies as an intimidation tactic, and because the Dead Horses’ religion is so eschatological and heavily focused on properly cleaning, preparing, and interring the dead, a big chunk of the religious leadership opposes him on that basis - they think his tactics are ungodly. They’re also worried that any Dead Horses who die in Zion and are interred there will be severed from their connection to Dead Horse Point and doomed to a separate, lonely afterlife. The younger, more progressive elements of the tribe are less traditionalist, sometimes less religious, and overall not as concerned about Graham’s treatment of the dead because of the potential benefit they might be able to derive from him. Follows-Chalk is their de facto leader, and while the Dead Horses don’t formally allocate political power, he’s among the most influential people in the informal tribal leadership. Most of the Dead Horses who’ve come to Zion have done so either because they support Follows-Chalk politically, or for practical reasons - namely, Graham’s access to a dizzying number of guns and his willingness to give them to anyone who’ll fight for him.

The Sorrows are now a terrace-farming agrarian society instead of hunter-gatherers (Zion has a lot of agricultural potential, and there’s already a few farming plots in the Sorrows camp you see in-game, so it’s not a huge departure from the canon). I’m keeping their Mexican heritage, but I’d like to give them some Ainu influences as well - partially for selfish reasons, but also because bears are extremely important to our culture and theology, which gels well with the elements of Sorrows culture and religion that appear in the canon. I’d like to keep the Survivalist because I like him, but I want to expand on their faith. One of the ways I’m doing that is by deciding they can still read English, even though they no longer speak it; it’s basically their equivalent of liturgical Latin. They’re also rigidly matriarchal and in contrast to the Dead Horses (who eschew formal political hierarchies) or the White Legs (who elect a chief who serves until he dies, is deposed, or voluntarily abdicates), leadership positions are allocated through matrilineal primogeniture; Waking Cloud inherited her position from her mother. Religious leadership, likewise, is only available to women. You’ll be able to talk to Waking Cloud about some of the ways this framework is incompatible with the Mormon perspective, and can appeal to her desire to retain power.

Characters

Canon Characters

Joshua Graham and Daniel are largely unaltered except through the addition of lore that gives insight into their cultures, motives, and pasts.

All three tribal leaders (Follows-Chalk, Waking Cloud, and Salt-Upon-Wounds) are either given new backstories, a different set of motives, or different approaches to one another/Graham and Daniel. They’re also explicitly leaders now - what power Graham and Daniel have, they derive from whichever tribal leader they’ve managed to attach themselves to. Of those three, I’m altering Waking Cloud the least and Salt-Upon-Wounds the most. Like I mentioned, I have a companion wheel for him so far and the bones of two other conversations - one, where you meet him for the first time, and the second, where you speak to him before the final battle. Will link as I finish them.

Original Characters

Each tribal leader now has a rival or right hand within their tribe so I can reflect the different ways the values of a specific community can express themselves.

Follows-Chalk’s primary rival among the Dead Horses is a man who refuses to tell you his name. That’s because using someone’s name in casual conversation is considered unspeakably rude, and the fact that Follows-Chalk is willing to share his own with you is, to Mysteriously Named Old Man Character, yet another sign of how disrespectful and laissez-faire Follows-Chalk is about their shared traditions. Old Man Character is suspicious of you initially, but if you speak to him more he starts to warm to you. The goal is to give you a sense that this he’s pretty xenophobic but for good reasons, and despite his political conflicts with Follows-Chalk, has a lot of love for him. He just wants what’s best for his family, and Follows-Chalk is part of that, even if Mysteriously Named Old Man Character thinks he’s making the wrong choices.

Kiiki is Salt-Upon-Wounds’ right-hand woman and intended as a contrast re: the approach to war and its costs. Salt-Upon-Wounds has done some horrible things and gets a fair bit of dialogue about that, but Kiiki is willing to go even further than he has with very little prompting. Her chief copes with what he’s done by trying to assure himself that the ends of war are worth the cost; Kiiki deals with it by trying to convince herself that the means weren't so bad, actually, and that anyone who isn’t nailing corpses to walls is being naive. All of that makes her sound pretty shitty, but she’s nowhere near as devoted to the idea of a Legion alliance as Salt-Upon-Wounds is. It only takes one very low Speech check to convince her that going Legion is a bad move, and one of the paths involves assassinating Salt-Upon-Wounds and installing her as the new leader as a way to stop the White Legs from joining Caesar. I haven’t added this path to the ending Twine because I’d like to finish Kiiki’s dialogues before I do that.

I’m replacing White Bird as the Sorrow’s spiritual leader with a woman named Imekanu. She’s incredibly old, savvy, and knowledgeable - she’s never been outside Zion, but has a store of books in English, Spanish, and Japanese that have allowed her some insight into what caused the war, if not the current state of the world. She’s also aware of the Survivalist’s origins - not because she’s entered any of his hideouts, but because she’s read over the scriptures and has correctly identified them as letters. Her perspective is that the Father in the Caves was a human being, but that doesn’t diminish his religious value. She sees him as analogous to the Buddha or a Catholic saint: human, sure, but still with access to some deeper truths about the purpose of man and the nature of human goodness. You’ll discover that this idea (that the Survivalist was a holy man rather than a literal god) is the most common perspective among the Sorrows, and you can talk to her about how this departs from Daniel’s perspective that the archetypal Father is divine, not human.

Quests

Each tribe has a specific quest that will either lower or bypass some of the penultimate checks that will determine your ending (people are more likely to believe what you’re telling them if you’ve already won their trust).

The Dead Horses: Joshua Graham has been putting the heads of the fallen up on pikes across Zion. The Dead Horses’ religion is deeply concerned with proper treatment of the deceased, and Graham’s decision to desecrate the corpses of his enemies goes against virtually everything they believe. The old man who won’t tell you his name asks you to take the heads off of the pikes and bury them deep in Zion, and to bring Follows-Chalk with you so you’ll have someone to tell you how to treat them properly. Over the course of the quest, Follows-Chalk will share some of his own beliefs about death, and you’ll have the opportunity to share your own. If you complete this quest without sabotaging it, Follows-Chalk will be willing to betray Graham to the White Legs before the final battle.

The Sorrows: This is basically just Ghost of She, but after defeating the Yao Guai you’ll discover a holotape revealing that the girl wasn’t killed by the bear, but by one of the murderers from Vault 22. Waking Cloud will speculate that maybe the Yao Guai wasn’t the ghost of the little girl at all but some other force that wanted to push you to discover the truth. If you wait until the end to tell Waking Cloud about the death of her husband, you’ll have to pass a Speech check of 75 to convince her you’re telling her the truth; completing this quest drops the check to 50.

The White Legs: Salt-Upon-Wounds will ask you to help him sabotage the Mormons’ preparations for the battle. If you help him with this, it’ll drop the Speech check for you to convince him to leave from 100 to 80. It’s not necessary at all to get the tribal confederacy ending, but a new note will appear in your inventory if you finish it and meet a couple other requirements (asking him certain questions, not attempting that one Speech check about religion, etc).

Endings

I’m trying to incorporate as much variety as possible, but there are three main ending paths: siding with the White Legs, siding with the other two tribes, and peace. The basic idea is that the outcome is predicated less on your direct intervention, and more on how other people act based on the facts they have available to them. Most of your influence is through your choices to hide or reveal key pieces of information, and the skill checks you need to access certain endings are less you convincing a character to do something and more convincing a character to believe you’re telling them the truth. There’s one major exception to this, it requires maxed Speech, and the ending it gives you is markedly bittersweet because you’re trying to get a guy to act against his own best interest. I’m writing all the endings up here, and will probably edit them as things change. The post where I explain them in more depth can be found here.

And that’s the story so far! Thank you for reading, and again: if there’s anything here you think is poorly-conceived, let me know. Thank you to @baelpenrose, who’s a grad student in the history of the American West, for helping me workshop a lot of this stuff. If you’ve got expert knowledge on any of the concepts I touch on or are personally a member of any of the groups I’m describing, please feel free to hmu: anon is on, and you’re always welcome to DM me. I’m just doing this for fun, but I still want it to be as not-shit as possible.

[wonderfulworldofmichaelford]

Michael in the Mainstream: Crash Bandicoot

Reviewing video games is not my forte. Like, sure, I can review the Metal Gear franchise because it’s near and dear to my heart and it’s incredibly story driven to a cinematic degree, but I’m not super good at touching on game design or any of that. I stick with movies. But then there are a lot of games I love and want to talk about, such as this game, Crash Bandicoot, and it’s like, how do I talk about this? This is a platformer that is very light on plot and is more about precision platforming than anything, and I’m just not really good at talking about gameplay.

But I’ve come up with a solution! One that I plan to use going forward for a few other games, too! I’ll start with a few paragraphs with my basic overview of the game, and then I will do a ranking of my favorite levels, and then how I’d rank the bosses. I’m much better at talking why I enjoy the challenge of specific elements of games like these then I am talking about the game as a whole, so let’s see how this turns out.

Crash Bandicoot was the first video game I ever played, and so is extremely near and dear to my heart. It’s a rather simple game, a “save the girl” platforming adventure in the vein of something like Mario, where an intrepid hero travels through platforming challenges to save the love of his life from an evil mastermind, though as the main character is a furry animal with a bit of 90s ‘tude, and his archenemy is a mad scientist who utilizes cyborgs to stop you, there’s a dash of Sonic in here too. Being a simple platforming game like this, you’d think there wouldn’t be all that much to the story… but surprisingly, that’s not totally the case (although the story is still relatively simple to later entries).

Crash was meant to be the ultimate soldier in Dr. Neo Cortex’s army of evil marsupials and other assorted critters, an army he presumably was going to use for world domination. After rigorous training, Crash was set to be brainwashed and turned into a mindless slave, but something got screwed up and Crash remained a good, heroic guy. He ended up chased out a window and washed up on the beach of a nearby island, and set out to save his buxom, big booty bandicoot babe Tawna from the creepy clutches of the cantankerous Cortex, causing chaos and crushing crates as he went along. The manual included with the original version of the game actually outlined sort of a little story for the first island, showing how the levels involved Crash infiltrating a native village, defeating its leader, and then riding a hog to escape on his way to the next island. It’s kind of fun and imaginative, and the next island keeps it up, with Crash having to brave ancient ruins to make it to the volcano on the other side of the island, before finally going through Cortex’s toxic power plant, causing a reactor meltdown, and climbing Cortex’s castle to confront him as his island burns to the ground. It’s a fun, simple story that’s not too challenging on the mind while still being engaging.

Perhaps the best thing about the game is the music, which was done by Josh Mancell with the assistance of Mark Mothersbaugh’s Mutato Muzika production company. Let’s not beat around the bush here: Every single track in this game slaps. Basically every track in the original trilogy slaps, but I feel pound for pound this game just hits all the right notes with its music. It perfectly sets the tone for each level, with eerie levels like Slippery Climb getting foreboding music and unsettling yet somewhat whimsical levels like Road to Nowhere getting music that perfectly suits it. This is the biggest downgrade of the remake; they redid the score, with no option to go back to the old tracks, and while some of the updated tunes are great, they don’t really hold a candle to the original (especially the creepier levels, which got dumbed down a fair bit to the point of narm).

The one thing this game is being known for these days is its pretty brutal difficulty, at least with the original release. A lot of the staple elements of the series like checkpoints saving the boxes you had previously broken and an actual save room were not present, so every level (including the brutal ones where the margin of error was incredibly slim) needed to be completed perfectly in one go. The challenging road to 100% completion was absolutely brutal, but thankfully the remake polished things and brought it more in line with its sequels to the point you only need a flawless run on colored gem levels. It can still be pretty tough since the colored gems are located in the hardest levels of the game, but it’s a lot easier than it once was.

The original game is a great, fun game, but only play the original release if you really want to test your skills; the remake is the way to go. The game holds up amazingly well even today, so no matter which version you end up playing you’re in for a fun platforming challenge.

Anyway, let’s get on to the levels!

TOP 10 LEVELS

10. Generator Room

There’s something to be said about the various one-shot themed levels of the third island. Toxic Waste is an interesting one we’ll talk about later, The Lab is a fun penultimate level, and Cortex Power is a frustrating slog of confusing backtracking. The Generator Room, though? This is unnerving atmosphere and dark ambience at its peak, with the eerie, minimalist music and the looming Cortex faces lending a chilling sense that you’re being watched as you make your way through this dark platforming challenge. It’s not the most exciting level, but among the one-shot themes it stands out for being a heaping helping of nightmare fuel… Though moreso in the original game. The remake sadly toned things down a bit too much, though it’s hard to blame them, really.

9. Native Fortress

The level that caps off the first island is a more challenging remake of The Great Gate, and closes out the story of the first island by showing how Crash escapes the territory of Papu Papu’s tribe. It’s a pretty fun and reasonable challenge for the point in the game, but my favorite aspect of the level has always been that, when you get the red gem, you get to fly up in the clouds and experience the painted background of the other two islands with less clutter. It’s just a simple background image, sure, but I have always found it very pretty and breathtaking.

8. Road to Nowhere

Everyone’s favorite! This is one of the more challenging levels if you don’t know what you’re doing because of the tricky and precise jumps you need, but it just has so much atmosphere and pleasant music it’s hard to get mad even if I screw up and plummet to my doom a few dozen times. Bouncing off of hibernating turtles to make long jumps and inexplicable evil hogs help make this memorable. Frankly, if you want to direct your ire to a stage, direct it to The High Road, the third island’s more challenging take on this level’s theme and which is a joyless, frustrating experience.

7. Castle Machinery

This level is honestly a bit of a breather for being so late in the game; sure, it has a lot of tricky jumps and an annoying crate bridge you need to really think about to conquer, but overall it’s just an improved take on Heavy Machinery without an obtuse branching path to figure out. Still, this level really makes the list because, if you have the right colored gem, you can just immediately skip the entire level and gain thirty free lives in the process in one of the single funniest moments in the game.

6. Toxic Waste

This level is simple, straightforward, and to the point. It’s one long-ass hallway where Crash is on a narrow walkway and has to avoid incoming barrels being tossed at him by the Mafia. It has no branching paths, no crazy elements, just Crash, some barrels, some boxes, and some bad guys. It’s almost too basic, but what saves it is the atmosphere of it all and the sheer awesomeness of the music, no matter which version you’re playing. It’s a level that has stuck in my mind since I was a kid. In a way, it also set the basis for colored gem unlocks in the games to follow, as avoiding the barrels is more of a puzzle than anything, much like the tricky puzzles you had to solve to unlock the colored gems in Cortex Strikes Back and It’s About Time. It’s a neat little first step even if it’s not quite there yet.

5. Boulder Dash

I almost didn’t include one of these levels, but God, these levels were trendsetters! The whole “Crash gets chased by dangerous thing” trend began in this game, and this second take on the boulder chase from the second island is a lot more fun and challenging than the earlier version of the level. And if you get the colored gem, you’re taken to a pretty underground alternate exit with tons of crates, which is pretty dope.

4. Fumbling in the Dark

The only one of the secret levels that requires a Cortex key to make the list, Fumbling in the Dark is a remix of Lights Out, the level it branches off of. That level is a bit of a cakewalk if you have the right gem, with an alternate exit being available to you before the level’s challenge ramps up. Not so with this level! You’ve gotta do some tricky timed jumps as quick as possible so you can get to the next Aku Aku mask before the light runs out. It’s a pretty fun and fair challenge, and it pushes my platforming skills to the limit. I also just really enjoy the creepy, Gothic aesthetic of the levels inside Cortex’s castle.

3. Hog Wild

This is, hands down, the funniest level in the game. From Crash’s really suggestive eyebrow waggle which leads to him tackling a pig to the extremely goofy music, this level is just an absolute blast. It does have an equally fun yet more challenging remix as an optional secret level, Whole Hog, but I have to give props to the original level for being the most hilarious thing I ever saw when I was little.

2. Slippery Climb

Where Stormy Ascent is a brutal, unrelenting challenge, Slippery Climb is more of a tough, but fair challenge. It’s definitely up there with Sunset Vista and The High Road in terms of difficulty, and the fact you’ve gotta do a flawless run of it if you want the red gem is daunting, but this is the most thoroughly rewarding mandatory level to conquer. You’re gonna feel really cool when you take this one down, guaranteed. Maybe not as much as when you take down Stormy Ascent, but still, this may be the toughest level in the game.

1. THE GREAT HALL

WOO YEAH BABY! LOOK AT THIS CHALLENGE!

Ok, ok, here’s the real number one:

1. N. Sanity Beach

This is the first level in the game and, thus, one of the easiest. And yet I placed it above all the levels I find to be more fun and challenging. Why? Well, for one, the pure nostalgia of it all. This was my first level in a video game, and I have fond memories of traversing the beach and jungle. For the other, this is one of the most perfect tutorial levels I have ever seen. Basically everything the game has to offer is laid out to you and slowly dished out to you: you start with a couple crates and a free life, move on to experience some enemies and pits, you can get total invincibility if you’re smart, you’re introduced to branching paths and backtracking… Everything is dished out to you at a solid pace so that any new player will be able to figure out what they’re doing with relative ease. Plus, the music slaps, and interestingly enough halfway through the level changes to a different song (the only level to do this). It really does encapsulate the game as a whole in one tiny package, and for that, I think it’s my favorite level of all.

Boss Ranking

The best way to describe the bosses in the original Crash is that they are incredibly basic. Most of them have simple patterns, easy tells, and don’t take much effort to take down. There’s not really anything here that will put your skills to the test, but none of them are really bad per se; in fact, considering how hard the levels can get, it’s sort of a breath of fresh air when you get to a boss that can be taken down without thinking hard.

6. Papu Papu

Coming in last place is our first boss, the big chief of the first island himself. He’s a pretty simple and straightforward boss battle: just jump on his head a few times and he’ll be out cold. It’s pretty nice to ease in new players, but it’s seriously not much of a challenge (though none of these bosses are particularly hard, mind you).

5. Koala Kong

So far, this has been Koala Kong’s sole major outing, as he was pretty quickly replaced with the more engaging Tiny Tiger in terms of dumb muscle.Tiny at least has some semblance of combat prowess and strategy, while this guy is just tossing boulders at you to spin back while he’s flexing and posing like he wants a part in the next volume of JoJo’s Bizarre Adventure. He’s certainly not the sharpest tool in the shed. Still, he’s not bad or anything, just a bit of a generic battle compared to the last three or the one before him.

4. Ripper Roo

Ripper Roo is a bit of a frustrating puzzle boss, requiring just the right timing to get in any damage on the guy. Still, the fun and bouncy music coupled with the amazing stock laugh does help make him a bit more memorable than the previous two bosses. I will say he’s probably worse in terms of an actual boss battle, because he ends up being more an exercise in precision than the typical dodging and waiting for the right moment to strike, but he’s also a funny kangaroo in a straitjacket, and I think that counts for something.

3. N. Brio

The longest boss in the game, Brio comes with a massive health bar that you’ll shave off pretty quickly for his first phase if you’re careful, and whose second phase features him hulking out into an incredible monstrosity. He’s simple and straightforward, much like all the bosses to be honest, but I think the bosses on the final island all have solid presentation to make up for that. Brio just comes out at the lower end, which is honestly a running theme for him in Crash games, as his battles are rarely the best out there and few can match his debut.

2. Pinstripe

Pinstripe may not be the most challenging boss in the world, but damn is he cool. A tommy gun-toting potoroo gangster who goes full-on Scarface and starts blasting up his office when you walk in while cackling like a madman? Awesome. Defeating him is also heavily implied to be the reason Cortex’s castle eventually starts burning down, as he accidentally shoots the generator upon defeat, which is a neat little touch. If nothing else, Pinstripe is just fun, and he has killer theme music to boot.

1. Cortex

Cortex begins his reign as the big bad of the franchise with a final boss battle that, while lacking in serious challenge, has such good music and presentation that it’s hard to really care. The fight is simple and straightforward: you dodge his blasts, and hit back the ones of a certain color so they blast his health off. All of this is done from atop his dirigible, as his island burns down in the background. The bosses just don’t get any cooler than this.

[xenetala]

Piofiore: Fated Memories Review

I’ll keep this as spoiler free as possible, but with this game that may be a bit difficult. This is just my thoughts on the game and its quality. This game overall is really well done and if you are familiar with Amnesia Memories, you’ll really enjoy this one.

There are a few things I’d like to give people a heads up on in this one. First, this is a game about the Mafia. While it should be obvious, many people who play otome games may not realize this isn’t like the sweet games such as Kissed by the Baddest Bidder. Please do not play this game if you are sensitive to blood, gore, death, rape, drug abuse, psychological abuse, torture, violence, general crime, and other such themes. While you can play the best routes and avoid too much of this, you will be exposed to some pretty gruesome and brutal things in this game.

The second thing I’d like to give a heads up on is you have to play the routes in a semi set order to unlock things. By this I mean you don’t get to completely choose who you play at first. While this by no means makes the game bad, it’s something to think about before playing. You may not get to choose your favorite boy right off.

If you do play this, I have a recommended play route. I recommend this based on the lore of the world. That’s not to say you have to play this order, but I think it’ll give a better feel for the world.

While you can start with either Dante or Nicola, I’d recommend playing through Dante’s route first and follow his route with Orlock. While Yang is my absolute favorite boy by far, I recommend playing Nicola before Yang. Gilbert’s route you can’t play until you’ve played the other 4 so Dante > Orlock > Nicola > Yang is my recommended order, but Dante > Nicola > Orlock > Yang isn’t a bad order either.

Overall Story

This is a really good story. There’s a lot of absolutely lovable characters in it and I wish there were more routes. I also wish the stories were longer just because of how good the characters are. Even the supporting characters are great. The setting is in Italy during the 1920′s. There are a few references to world events around that time such as World War I, the depression, American prohibition, and several other things that happened around the world.

The game takes a lot of the terms and historical things and puts them in a nice handy dictionary in case the audience isn’t familiar with them. Personally I find all of the references common knowledge, but then I’m also a history buff so that may not be the case.

As far as the plot goes, the basis is you play an MC who grew up in a church in a small mafia run city. Depending on the route, the MC gets captured or rescued by one of the three mafia groups and ends up in their care as a guest. The three groups are the Italian based Falzone, the mixed heritage Visconti, and the Chinese based Lao-Shu.

Each route has a different part of the story and history of the world and the town as well as a different perspective. Some of the routes are more peaceful while others not so much. In all of them, the MC is one I consistently like. Despite being brought up in a quasi Roman Catholic based belief system, she’s quite down to Earth and many times stands up to the mafia so that earns her many points in my book.

The one thing in this game that I feel is a big missed opportunity is the character Roberto De Feo. I would have loved to see him as an option in this game. Especially after playing all of the routes including the hidden one, I feel like he would have made a nice addition to the story.

Characters

This game has a really good set of characters and even the supporting characters are good so I’m going to go over quite a few people in this. I’ll break these down by factions to help keep things orderly. Each character does have a best, good, and tragic ending. Some of them are really good, but the tragic ones to be pretty brutal to play.

Also, a fun note in the CGs you can press a button to hear the character’s comments on the scene.

Falzone Family

Dante Falzone - This is the first route I recommend playing. He’s kind of the ‘canon’ route in this and goes over a lot of the lore of the world. It can get a bit overwhelming to keep up with all of the mythology of the game, but you will need that information for later routes.

He’s introduced as the cold and cruel boss of the Falzone, but in reality he’s more of the slightly cold gentleman. While he can be cruel as evidenced in a torture scene, he’s really very sweet and you see much more of his caring side as the story progresses. I’m not a fan of his route as it is way sweeter than I’d like for a mafia boss, but it is the most romantic one.

In this route the MC spends most of her time confined with Dante and is more of a prisoner than a guest in my opinion. She’s not allowed to roam free much and is quite dependent on Dante. There is a lot of violence in this route and is one of the more gruesome ones in a few places. I actually like his good ending better than the best ending. His tragic end is really sad so beware. It’s not as brutal as others, but it’ll tug your heartstrings. Death can bring more peace than life. 

Leo Cavagnis - While not a love interest, Leo is an adorable character. He’s assigned as the MC’s body guard in anything related to the Falzone family. I would like to have seen him as a romance option just because it’d be nice to have a choice other than only higher ranking mafia members, but even without him being an option he’s a fun character in all of the routes.

Nicola Francesca - He is the underboss for the Falzone family and is Dante’s cousin. I liked his route much more than I thought I would and he is more what you’d expect for a mafia themed game. It is mentioned in all routes a few times that Nicola is more suited to being the boss than the underboss, and I agree with this.

Nicola is presented as a playboy, but though he’s flirty he’s not really a playboy. He has a lot of charisma and appears nice, but there is a cruel side to him. This is showcased in how he treats his men and in a torture scene. His route has almost none of the lore and is refreshing in that fact.

The MC is still more of prisoner in this one, but she’s not as dependent on Nicola. Even though I’d say Nicola is more ruthless than Dante, this route is actually one of the less violent ones. I will warn that his route is predictable and not quite as exciting to play as far as plot twists and such. Despite that, this is a fun route and the MC gets to showcase a bit more strength than in some of the others.

He is really tied to his idea of trying to free Dante from the curse of his blood and duties so Nicola often acts brashly and without really trying to understand others. This makes him quite focused on his own goals. His best ending is a great ending and for sure deserves to be called the best ending. I don’t really care for his good ending as much. While not sad, he’s too much of a mafia boss for the good ending to really fit him. His tragic ending is a work of art.

Giulia Ceste - She is the motherly housekeeper of the Falzone and takes care of the MC a lot when in the company of the Falzone family. While not a big character, she does help create some humor in the routes and is always a welcome addition when things get really serious.

The Church

Just a few notes on this ‘faction’. This group plays different roles in each route and doesn’t really follow a branch of the Christian religions. Even though the set up is implied to be the Roman Catholic branch, the lore behind this church isn’t really clear on things. There’s a relic mentioned and that relic is given all sorts of explanations as to what it is, but in reality very little of this game really follows any specific branch. So, if you find yourself confused on this group that’s normal.

Josef von Rosburg - Josef is a bishop for the church and has varying roles depending on the route you play. For the most part he’s reasonably pious and does things on behalf of what he believes to be the best for the church. Although, as the saying goes the road to hell is paved with the best of intentions.

Orlock - This boy is all cinnamon roll and I did not like his route until I played all endings. Part of the problem I have with his route is he’s so naïve and innocent that he comes off as childlike. After seeing him in some of the other routes I’d had the expectation that he’d be more of a cold hearted assassin than he is.

That I think colored my perceptions too much to fully enjoy this route and is partly why I recommend him as the second one you play. He is a disciple which basically just means he’s an assassin for the church.

He is absolutely devoted to the MC to the point of basically worshiping her and can see no fault in anything she does. This route is one of the more violent ones and uncovers more of the lore of the world. Orlock feels much younger than the MC because of his innocence despite being able to kill just about anyone.

The good route I liked a lot more than the best route in this one and that’s partly because he didn’t feel as much like a child in that end. The tragic route though changed my mind about his story a bit though. I love his tragic route. It is brutal and merciless, but you see him as an adult and not like a child. Plus, I’m a sucker for a good gut wrenching tragedy that just makes you question why you’d put yourself through the torture of reading it.

Elena Croce - This girl is the MCs best friend and someone she grew up with in the church. Her role varies depending on the route, but she’s generally a quite girl and is good at cooking.

Sister Sofia - She is one of the sisters in the church and is the mother figure of the story. She knows MC’s history and why she’s so important, but keeps things secret from her to prevent her from carrying a heavy burden.

Oliver Haas - Sadly this is another one that doesn’t have a romance option. Oliver is the Visconti family lawyer and helps smooth things over when members of the family get arrested. He is very strict and is often reprimanding Gilbert for things. It would be interesting to see the story from his perspective for sure.

Visconti Family

Gilbert Redford - He is the leader of the Visconti family and was born in Chicago. Gilbert has ties to the US and the mafia in Chicago. Unlike the Falzone family, he had to earn his way to the boss of the faction and wasn’t passed to him through blood ties.

This route is the most peaceful route. Though Gilbert is mafia, he is a businessman first and foremost. In his story the MC has a lot more freedom as she leaves the manor and tours sections of the city with Gilbert. Much of the MC’s time with him is more like being on dates.

Even though this route is far less violent than the others and softer in many respects, this one has more intrigue. Gilbert is the type that fights with strategy more than with violence so there’s a lot of intelligence gathering and plotting.

Basically the premise is that Gilbert is being framed for a crime and everyone is trying to clear his name. Due to the nature of the crime, it affects all of the families and even Yang is willing to help out Gilbert through this ordeal. The whole story is really a build up to the big finale of the case and you get to see aspects of all the characters in a very different light.

I really like his endings. All of them fit the story and are beautifully done. One of the things I like most about Gilbert’s story is everyone sticks together and helps out.

Lan - She is one of the twins that is assigned as the MC’s guard when in company with the Laou-Shu. This girl is absolutely adorable and creates a lot of fun moments. As cute and sweet as she is, she is also very strong and will kill someone without a second thought.

Laou-Shu

Yang - He is by far my favorite of all the characters. Yang is highly intelligent and very skilled in combat. This is show cased by the fact that he is bored without intrigue or other shenanigans to provide him amusement. The MC in this route is one of the more interesting ones in my opinion. Her intelligence really shines through in this one because in order to survive Yang she has to think on her feet a lot.

One of the things I really liked about this route is there were more fun scenes in it. While Yang’s route is by far the most brutal and violent, there are points that are just good fun and provide some of that cute romantic mishap stuff we all kind of want in these games.

The Laou-Shu is a different type of mafia group from the others and this story is in opposition to the lore of the world. Pretty much everyone gets killed and there’s a lot of misfortune in Yang’s route. He is a violent person who grew up under less than ideal circumstances. The MC is gets involved in the goings on with the Laou-Shu and is brought to some pretty grisly things.

I’ve seen quite a few people compare Yang’s personality to that of Hisoka from the anime Hunter x Hunter and I agree that they have similarities. Both live for the moment and share the bloodlust from a good battle with a strong opponent. He is also a master manipulator and very good at twisting words to get exactly what he wants. His best and tragic endings are simply gorgeous, but his good ending isn’t as fun. It’s not a badly done ending, but I would have liked them both to die in it.

Fei - He is the other of the twins that guard the MC when in the company of the Laou-Shu. He’s very protective of his sister and is the calming force for her. Just like Lan, as adorable as he is he can and will kill someone without a second thought.

Marco Caldroni - He is the other detective that comes into the game and is more often than not trying to keep Roberto in check. Marco is more okay with letting the mafia deal with things than his partner is and tends to either stay out of the way or help in cases where civilians are in danger.

Police

Roberto De Feo - This guy grows on you as you play the game. At first I really didn’t like him and especially so after playing Nicola’s route, but they really should have given him an option. I’d rather have been able to play Roberto than Orlock. Roberto is a newer detective with the police force and has a very strong idea of what justice is. He does not like that the town is overrun with mafia and that the mafia controls everything. This guy tends to pop up and pick fights with some of the mafia members.

Others

??? - This is a hidden route that is only unlocked after you’ve played through all of the others. You learn a lot more about the lore of the world and the MC is pretty much on her own in this route. I found this route very boring and the person you romance in this is too haunted by the past for me to really enjoy them.

As much as I love a good redemption story or even a good tragedy, this route is so boring. I would much rather have this be a totally different character’s route. While I get this person’s story helps fill in the gaps from Gilbert’s route, this gentleman is one of those revenge is everything types and I’m just not onboard with him. The endings are a peaceful kind of harem ending for the best ending and I don’t mind that one too much. There is a romance ending and I just don’t care for this character enough.

I get wanting revenge, but I find the all consuming revenge to the point of self-destruction and destruction of everything you hold dear just stupid. That’s how this romance goes. Reminds me a lot of the Sasuke and Sakura stuff from the anime Naruto.

[sir-huffman]

tagged by: @songzhong​ (hello, here’s a wall of text, and I enjoyed reading about you Mao!) tagging: @you on the dash - aka you see this you’re tagged.

———  BASICS!​

Name: Duke ( any pronouns, but most use masculine  )

Face Claims:       - Itsuki Kamiyama from GOTH (professional like above)       - Suga from Night of Drizzling Rain (general)

———  THREE  FACTS!

1) I am an ISTJ and a Taurus...so take that what you will. I’d like to say I’m friendly, but tend to put a very large wall (of text) up so people know what they’re getting into with me and to give an explanation for my actions...as such I am very introverted and only have so much energy for interaction. This leaves me seldom to contact people in the RPC unless I have a specific idea in mind for our muses...which honestly I never do. The best is for me to just chuck a meme at people and see how our muses vibe. After that, well uh...yeah. I’m one of those RPers who have more people I interact IC than OOC cuz OOC interaction takes a lot out of me unless we somehow vibe well.

And by vibe well, I mean our muses generally interact well and aren’t apathetic towards each other. There are so many muns that I respect and consider friends and admire from afar, but we’re not close due to just our muses just not vibing as well as others (which is totes fine it’s just how things sometimes go, ya know?).

( you’ll find that I write a lot hence the read more )

2) I am very stubborn and have a little bit of tunnel vision in my own HCs and world crafting. My muses tend to be people who hold an authoritative and demanding presence where their opinions are stated as truth...which is the complete opposite of my own personality. But I’ve learned that I have to kinda draw my lines and I feel like I can probably give people whiplash between my timid and nervous nature and when it comes to defining my muses. Honestly I’m just very flexible with molding my muses to help fit for interaction, but I do have hard lines and like to make it clear if I’m bending my characters vs how they would naturally act...I tend to make my muses push overs unless I’m like 100% comfy...and even them I make them push overs...hence the amount of my crack threads because I have no sense control and just wanna have fun...with my tight assed muses.

3) That said...I’m just a meme. My main reputation is just being that one mun who RPs a Team Rocket OC with 6 Magikarps. But I truly just have two sides. The very crackish side where (1) I’ll just throw our muses in ridiculous situations and (2) the very angst heavy side that usually only talked about due to my muses handling trauma and very apathetic and nonchalant towards breaking hearts. And as I write this out I feel like I’m giving people whiplash on whoever is reading this since they see Huffman here and is like “oh, how cute what a soft boy” and then I bring up Morax who is just a monstrosity of a muse where I’m toning him down 99% of the time because...well...(*looks at hands*) he’ll end up killing a muse 99% of the time if I don’t stop him and that isn’t fun to RP.

———  EXPERIENCE!

My first experience in RPing in general was on an old website called TinierMe and also a mobile app called VampiresLIVE (lol). However I officially started RPing on Tumblr in 2014 as a Gijinka!Groudon blog originally known as theruleroftheland. After that I’ve slowly branched out of the Pokemon RPC but hold a strong connection with the friends I’ve made there (or kinda, I’m horrible at keeping contact with others since I disappear for months/years at a time). But I’ve found I’m most comfortable writing on tumblr due to the amount of formatting and organization that comes with RPing on here.

I’m slowly branching out to Discord (thank you to my dear RP partners over there who are patient with me because I’m slow) and becoming more accustom with being social over there.

———  MUSE  PREFERENCE!

Gender: 100% male to RP as. I find that I gravitate towards males since I have disconnection with male muses from myself and I like having that wall. Writing females get a little too personal for my own comfort so having that extra layer of distance really helps. Also it helps me look at things differently.

Multi or Single: 

I prefer single-muse blogs to run as I like keeping things strictly relating to my muse on one blog and another muse on another. Over the years I’ve been interested in throwing my old muses onto a multi-muse blog but honestly I can never bring myself making a multi-fandom multi-muse blog due to my own heavy need for organization.

As for shipping, I work under what I call a Quasi-Single shipping (aka multi- and single- ship). I operate under the impression that my muses are in an overarching timeline of their life that is heavily affected by their relationships. As such the MULTISHIP aspect is prone to have cheating and relationship overlap. I’m into having muses naturally engage in threesomes, foursomes, lying, cheating, misunderstandings, fights, break ups, get back togethers, etc. with all muses and muns participating together in the joy of it all. Jealousy and questioning of my muses’ relationships and actions are welcomed as I like having the sense that my muses are human and things aren’t so cookie cutter.

That said I am also SINGLESHIP in the sense that most of my muses are not polyamorous and are very much interested in having an end goal relationship where they settle down and marry. With who and how that happens really depends on both my muse and my partner’s muse. So whoever my muse is really shooting to get married to and actively advances will be my main single ship partner...or really whoever is going to influence my muse the most and I can see my muse actually yearning for (which honestly isn’t that many muses *cries*).

That said...Huffman in particular is going to be really hard to single-ship with as he is 100% dedicated his entire life to his lord and savior Lord Barbatos and this is the thanks he gets to Mondstadt and he will betray his own lover and such for Mondstadt.

He is also a(ego)romantic so he has a huge disconnection with serious relationships as he will honestly treat them just like he treats every other citizen in Mondstadt and it can slowly get to any of his partners since he just thinks is just apart of his job as a partner...which is the same job he has with the people of Mondstadt.

fluff/angst/smut:

Fluff: Generally I don’t find myself interested in fluff, but I realized that is only because of my previous muses couldn’t handle fluff at all. For this particular blog (Huffman) fluff is honestly the only thing that I can offer due to the nature of his character. Fluff with the undertone of angst is going to happen a lot, it’s not going to be sugary sweet fluff but just a result of Huffman’s very grounded and relaxed nature. He is calm and level headed, very rational (a little too rational) and very determined to make sure everyone is happy...and as such angst won’t really happen because Huffman tries to avoid such things naturally.

Angst: I enjoy angst, I’m that person who loves crying and my favorite tropes (especially in shipping) is unrequited love especially when it’s with a character who has so much love and dedication to one person. As such, I find that I’m more inclined to talk about angst than actually RPing it. I’m very slow (really really slow) when it comes to RPing unless it’s crack or relaxed banter. So when it comes to angst, I like to set time aside and fully write it out...making me having to respond weeks to months later...haha sorry. Also I naturally have muses who are apathetic towards angst and other muses feelings that is hard for me to write because I’m the opposite and I get heavily invested...it takes a lot out of me.

That said...most of my angst comes from very slow burns rather than actually writing it out. It’s more of the anticipation of the heartache, breakup, betrayal, cheating, etc. that I’m more inclined to talk about than actually RP...as stated above my muses are generally cold hearted and very accepting of any consequence to their actions...they tend to be planners and expect karma to creep up on them someday.

Smut: I am very particular about smut. I personally like talking about it but actually writing it takes a lot more time for me to do. There are some words that I refuse to write (which happens to be a lot of the smutty words lol) due to how I read them in my head irks me and doesn’t flow right (my worst subject in school was English so I don’t know many words okay). As such, it takes time for me to fully write smut and even then the way I tackle it is very action oriented rather than immersive (I like to think) so uh...RIP my rp partners who want to write smut since I usually respond when I’m half asleep and have no filter and probably stare at me like “wtf did I just read?”. I’m sorry my smut partners who have to deal with me.

plot/ memes:

Memes: I’m more inclined to send memes than actually get around to responding to them. I like keeping my thread count low because I’m slow and usually memes require immediate interaction (something that I may or may not have the time for). However, most of my threads come from memes that will fizzle out over time and I eventually drop without warning- it just how it goes.

Plots: I like plotting and defining pre-established relationships. Having to start everyone off with a blank slate isn’t something I like unless it just seems natural for our muses (ie. for Huffman he probs doesn’t know many Liyue characters, but he definitely is close to Mondstadt characters at least on a name basis). As such, I tend to like establishing relationships and then going from there so I know how Huffman will interact with them.

Plotted threads, however, take a lot out of me as I like coining an idea and then having a starter be written and then go from there. If there are checkpoints to happen, I get awkward because my muses are 95% certain to shift the narrative based on what is being written and the situation that arises. So heavily plotted threads isn’t good, but defining the trajectory of a relationship is something I’m down for...mostly because I’m a quasi-single ship and 99% of my muses relationships are going to fail naturally - which is something hard to bring up when there is ship talking happen.

[ffxiv-angora]

Things I like RP Partners to Know

Tagged by @caspianking​ again LOL

I like to be called: Lavi/Angora/Ango etc. I don’t mind either! I get called both on a regular basis depending on where folks met me first. I also go by she/her pronouns!

One thing (or several) you should know about me: I’ve actively been in the FFXIV RP community since...late 2014? I joined the game in mid 2014 and transferred to Balmung (back in the day where you had to wait and do it at like 3am) for RP purposes later that same year (I think). So I’ve been around for a while. I did take a step back from RP for a while due to some IRL stuff, but I returned a little over a year ago to try and get back into things (though I was still active in-game when I wasn’t RPing). 

My RP style is very casual. I never expect folks to write huge paragraphs or anything like that. My own writing ranges from just a sentence or two to paragraphs depending on what’s going on. I consider my writing skills to be fairly mediocre LOL But I like to think I at least get my points across in a way that’s not too boring or repetitive. 

I am a huge introvert so I am horrible at approaching new folks or going to big RP events. Despite that, I do try my best to stay active and hope to start branching out again. Though you likely won’t find me at any events if I am alone lmao I love brainstorming and coming up with fun new situations to throw my characters into with folks. It always makes me happy when new people approach me for RP stuff ;v; 

IRL has been pretty dicey for me lately since I’ve had a LOT going on the last few months. I try my best to be active when I can. Replies can be on the slower side at time depending on what’s going on. I also never push for replies from others either! Take your time~ 

 You can usually always get ahold of me via Discord! I am also pretty active on my Twitter and try my best to check Tumblr. 

One thing (Or several) you should know about my muses: Angora is my main and the character I am most comfortable with, but all 4 of my characters are fair game lol The other three are a bit more restricted in terms of where they’d be at any given time. Angora is always traveling for work so I can throw her just about anywhere. She was even sneaking around in Garlemald recently. If your character is healer....Angora will probably seek them out at some point. She tends to get into trouble and there is a reason she has befriended so many healers lmao  

That being said, Angora would be very suspicious and closed off to anyone new who might approach her out of the blue. You have to earn her trust first before she’ll open up more. Angora can still be social if she needs to be, though. It just comes with the territory of some of the work she does. She keeps all sorts of professional relationships should she work with someone or they offer a service she needs. Just know that if your character tries to be a little too friendly or pushy, and Angora takes it the wrong way, they may end up with a knife to the throat. Angora is also not above being bribed with something depending on what the situation is. 

Gaining her trust is the main way you’ll actually see her actual personality come out. Or if you happen to be around her if she’s with someone like Caspian. She can’t help but be a gremlin whenever the redhead is involved. She’d also likely be more relaxed if she has Li’yera (or really anyone from the company) with her. 

Wyra’to, Shria, and Altani are all not nearly as paranoid as Angora is lmao So if you are interested in meeting them, let me know! I’d love to use them more. 

First language: English

HIGHLIGHT: Carrds - Angora | Wyra’to | Shria | Altani

Age range: 22 | 23–25 | 26–29 | 30+ |  70+ (I do ask that any RP partners are 18+) 

Am I okay with NSFW?: yes | no | some nsfw (Would for sure have to be talked about ahead of time and I’ll have to be comfortable with you first. I’m so rusty at nsfw things lmao I also prefer for it to happen naturally via development if it does happen.)

My favorite/most common thing to rp is: angst | fluff | smut | crack | action | plots | AUs (Angora as a character isn’t unique to FFXIV lol I throw her into just about any universe/game) | violence | slice of life | performances

Darker themes?: yes | no | depends (would need to be talked about first)

Canon OC friendly?: yes | no | depends

RP blog: does contain ooc posts | doesn’t contain ooc posts | occasionally contains ooc | aesthetic

Final Thoughts: All in all, I’d love to meet some new people and branch out RP wise with any of my characters ;0;  I can be pretty shy but I also love to go on and on about character stuff if given the chance. My main goal is just to have fun with our fictional idiots lol 

[buzzdixonwriter]

The Four Gospels Of Sci-Fi

The “canon” of science fiction is in the news again in the wake of the recent Hugo awards, and since I’m nothing if not opinionated and I also want to load up my posting queue before diving into my next big project, this struck me as an apt topic to write on.

So settle back; we’re going to touch on the history of sci-fi, the influence of its old guard, how it pertains to religious literature, and perhaps even delve a little bit on Christianity itself at the end.

First off, a quick recap of Christian scripture for those who aren’t read up on the subject.  Vacation Bible School veterans can skip this part.

. . .

The foundational works in the Christian New Testament are the four gospels:  Matthew, Mark, Luke, and John.

The first three are referred to as the synoptic gospels because they tell basically the same story in the same beats, differing in style and detail, but essentially the same.

Mark is considered the oldest of the three and the primary source for Matthew and Luke (boy howdy! Am I ever streamlining a lot of Biblical scholarship here but bear with me; I’m doing this to make a point about sci-fi, not religion).

The common Christian reading of the three synoptic gospels are that Mark is the basic story, Matthew (because of its focus on Old Testament prophecies) was written with a Jewish audience in mind, Luke was written for gentiles.*

John is the gospel that sticks out.

To grossly oversimplify, the biggest difference is that the synoptic gospels mainly record what Jesus said and did, John focuses more on the who and why.

And that’s all we need to know at this moment…

. . .

The four gospels of sci-fi are Heinlein, Asimov, Clarke, and Bradbury.

(Before we go further, let us stipulate this applies only to those who came to the genre prior to Star Wars -- indeed, an argument can be made it only applies to those who were fans before Star Trek.)

Sci-fi’s synoptic gospels are the oeuvre of Robert A. Heinlein, Isaac Asimov, and Arthur C. Clarke; Ray Bradbury is the oddball.

I say they are the synoptic gospels because truth be told, you can only tell them apart by style, not content, certainly not by point of view.

If all three exchanged story ideas and plot outlines, the end results would be different only in tone and vocabulary, not theme or character.

Heinlein, Asimov, and Clarke were all technically trained and worked professionally as engineers or chemists when not writing; Bradbury was a gosh-wow! fanboy.**

If Heinlein, Asimov, Clarke, and Bradbury are the gospels of sci-fi, their John the Baptist was another John:  John W. Campbell

Campbell is a problematic figure in sci-fi, so let’s just get him out of the way ASAP.

He was a good but not outstanding writer, but when you write “Who Goes There?” (basis of the various film versions of The Thing From Another World) you’ve earned your place at the table.

He was a visionary editor and under his helm Astounding / Analog set the gold standard for sci-fi for decades to come.

He was a white supremacist of the paternalistic bent, and while on the one hand that’s better than being an outright hate monger, on the other it’s more insidious since it presupposes a correct worldview without challenging that assumption.

He was a male chauvinist of the same stripe, not particularly open to female writers but willing to publish the occasional story with a female protagonist…written by a male.

He was a crank who believed a bunch of goofball ideas, from psionics (ESP, telekinisis, etc.) to dowsing to the Dean Drive to the Hieronymus Machine (a device so wonderous that even a schematic drawing of it would work!).***

Campbell by all accounts was not a bad individual and the field is still replete with those who knew and loved him, but like the cranky patriarch**** who refuses to divulge the contents of their will, forcing everyone in the family to kowtow to them, Campbell’s position atop the highest paying / most prestigious market in science fiction shaped much of the genre around him.  (Full disclosure:  One of the greatest highlights in my writing career was finally placing a story in Analog after fifty years of trying!)

Writers would typically aim at Astounding / Analog first, and failing to sell there, the Campbell rejects would start a long, laborious trudge down the stairs to the cheaper markets.

This held true even in the 1950s when sci-fi magazines of a more literary bent (Fantasy & Science Fiction and Galaxy in the US, New Worlds in the UK) started attracting stories written for them, not Campbell hand-me-downs.

As Jeannette Ng observed in her acceptance speech for the 2019 John W. Campbell Award for Best New Writer*****:  “Through his editorial control of Astounding Science Fiction, [Campbell] is responsible for setting a tone of science fiction that still haunts the genre to this day.  Sterile.  Male.  White.  Exalting in the ambitions of imperialists and colonisers, settlers and industrialists.”

Campbell’s absolute faith in science and technology to solve all our problems (including the ones created by science and technology) while ignoring the very real problems that plague humanity since time immemorial (lust, gluttony, greed, sloth, wrath, envy, pride) coupled with his prime market position led to a genre that unquestionably accepted those settings as the only viable ones.

Campbell certainly held more direct sway over the writings of Heinlein and Asimov than he did Clarke, but Clarke’s earliest sci-fi sales were to Astounding and nothing he wrote in his first decade as a writing professional fell outside the big cushy box Campbell crafter for the genre.

And even though Heinlein and Asimov broke off for cushier writing gigs elsewhere (Heinlein in novels, Asimov mostly as a popular science promoter), they remained steadfastly loyal and respectful -- as did Clarke -- to the ends of their lives.

And on a personal, individual level, that’s a good thing -- we all need friends who will stick by us.

But Bradbury never got invited to the party.

Which is not to say he didn’t try to crack Astounding -- he did, on four occasions, two of them humorous short-shorts for the magazine’s “Probability Zero” feature, one run of the mill magic-shop-disguised-as-super-science-store tale sold in the middle of WWII when Campbell’s best writers were on active duty, and the last in 1950 when he was no longer Ray Bradbury, fanboy, but Ray Bradbury, Important American Writer!!! and Campbell published an excerpt from The Martian Chronicles.******

. . .

We’re going to take a sidebar here to discuss one of Al Ries’ immutable laws of branding.

Ries long observed there are only two models for any brand category:

A single dominant top brand with a distant second place competitor then a host of niche brands (Microsoft then Apple then everybody else)

Two big rivals fighting for first place with a competitor placing a distant third then a host of niche brands (Coke vs Pepsi with RC Cola trailing third then everybody else)

The way to break through in branding is not to waste time and effort trying to knock out a dominant brand but to create a new category to dominate!

That’s what Bradbury did in the late 1940s and early 1950s:  He stopped aping the default Campbell / Astounding style and began writing more lyrical / less techno-focused sci-fi.

Heinlein, Asimov, and Clarke were no dummies and soon they too branched out more consciously to mainstream audiences.

But as successful as they were, none of them ever fully shook the influence Campbell weighed down upon them.

That is why telling people today they must read the old masters results in eyerolls.

Too often the old masters trafficked in cleverness, not as Faulkner observed “the human heart in conflict with itself.”

Heinlein managed to transcend the genre a few times, but finding the gems in his work requires a lot of effort.  

Clarke remains dry and antiseptic:  it speaks volumes that his best known character is HAL 9000.

And Asimov just isn’t that goof in either concept or execution.  His Three Laws of Robotics demonstrates a failure of nerve and imagination:  Humans won’t build robots programmed not to harm humans because the first thing humans will make robots do it kill other human beings!

So there’s our canon: Mostly irrelevant, often impenetrable. 

The last author standing is the least technology oriented of the lot and Bradbury’s stories continue to work and delight because he doesn’t lecture on weights and measures but allows the reader to imagine along with him.

. . .

Okay, short Christian content now; if you came just for the sci-fi you can either stop reading or skip ahead to the footnotes.

Any field of human endeavor that does not constantly re-examine itself and challenge previous assumptions is doomed to irrelevance.

This does not mean established works need to be rejected out of hand, but we do need to ask what those works mean to us right now.

Truth is indeed timeless, but the package has a sell-by date and the contents do no one any good if they aren’t periodically taken down from the shelf and examined.

Modern Christianity -- in particular mainstream American protestantism -- has failed to closely examine the contents for quite some time.

While the field of sci-fi brims over with exciting new voices, we’re still straining to listen to the cracked / garbled / low fidelity wax cylinders of theologians long dead.

We need fewer Christians.   We desperately need better Christians.

Instead of demanding those outside or struggling with the faith must read things the way we were taught to read them, understand them the way we were taught to understand them, follow along the way we were taught to follow along, perhaps we should show faith in the material and let those who will read and re-imagine the text in the light of their own experience a fair hearing.

The old canon in sci-fi fails today because it is too dated, too rooted in the mindset of a bygone era.  The exception -- Bradbury (he himself a Christian and it shows in his stories) -- stays vibrant and alive and appealing because he doesn’t tell us what to think, he walks with us as we discover things for ourselves.

  © Buzz Dixon

  *  Acts Of The Apostles is a sequel to Luke and while Jesus appears briefly in the beginning in almost a flashback fashion, that book focuses on what his disciples did afterwards.

** An interesting trait Bradbury shared with Harlan Ellison was that despite their fanboy origins, both were one helluva lot more savvy to the business of writing and publishing than anyone else in the genre, and both skillfully created public personas that served them well (Bradbury’s better than Ellison’s, granted) while they guided their careers through the treacherous shoals of gatekeepers and public fancies.  Bradbury has written of his fanboy epiphany when he asked himself if he was satisfied being a fan / autograph hound or if he really wanted to be a creator, and immediately began directing his career in a fashion that could only be described as ruthless were it not attached to such a charming gentleman.  Wannabees are urged to study his career and how he did it if they want to be truly remembered.

***  All well and good as fodder for sci-fi stories, not so good in reality.  As the movie They Might Be Giants states:  “[Don Quixote] carried it a bit too far.  He thought that every windmill was a giant.  That's insane.  But, thinking that they might be... well… all the best minds used to think the world was flat. — But, what if it isn't? — It might be round — and bread mold might be medicine.  If we never looked at things and thought of what they might be, why, we'd all still be out there in the tall grass with the apes.”

**** To stretch our Biblical analog to the breaking point, if Heinlein, Asimov, Clarke, and Bradbury are the New Testament gospels and John W. Campbell is John the Baptist, then sci-fi’s Old Testament has patriarchs such as Swift, Verne, and Wells plus the matriarch Mary Wollstonecraft Shelley, a major prophet in Hugo Gernsback, and a host of minor prophets in various pre-WWII niche media including comics.

*****  An acceptance speech which in turn won a 2020 Hugo for Best Related Work -- how cool is that? ******  Basically, Bradbury was perceptive enough to recognized he turned a creative corner in 1944 with “The Lake” and broadened his submission range to include far more prestigious slick magazines such as The American Mercury and Mademoiselle and Collier’s and The New Yorker and when tipped off that Warner Bros. planned to plagiarize “The Foghorn” as the basis for The Beast From 20,000 Fathoms he didn’t waste time or money suing but sweetly judo leverage this to get his name prominently displayed on the movie posters as “Ray Bradbury…Saturday Evening Post” writer and then holy %#@& he was a Major American Writer!  I loved Ray, but his gosh-wow sweet exterior camouflaged one of the most brilliant strategists I’ve ever met.

[what-the--curtains]

Braving the elements

(Bucky x OC and/or Bucky x reader)

Summary:

A mutant with elemental control flees her life of crime after an altercation with her boss. In hopes of bringing him down she seeks out her old friend Wanda and offers to help the Avengers. Whilst there a certain avengers catches her eye and she catches his. As a more sinister plot begins to reveal itself, you realize that your former employer is the least of your worries and that something wicked was being planned for you since the day you were born.

Warnings; Violence, Swearing, Theft

Author's note: First piece of non-academic writing I’ve done in a while so feedback is always appreciated, but be kind! I may change this to be a reader insert, but I just don’t like how (Y/n) looks in the writing. If y’all want it changed though let me know! Bucky makes his appearance in Chapter 4 so it’s a slow burn romance, but there’s gonna be fluff, angst and smut involved! Steve/Nat and Wanda/Vision are in it later as well, but I wanted to establish the main character a bit first as she’s the only one who's made up

Word Count: 2.0K

Act 1: Chapter 1: The Robbery

Songs inspiring this chapter

Ain’t no rest for the wicked – Cage the Elephant (Bank robbery)

Boss Bitch - Doja Cat (Fight with the avengers)

Monday 10 AM, N.Y.C

“This is it?” you ask, pulling your sunglasses down slightly in order to get a better view of the building standing before you.

“That’s the one.” Your getaway driver Calvin says into your ear piece, he’s a block away in the back of a white van waiting for the go ahead from the boss.

You squint as the sun hits your eyes, letting out a low whistle “Pretty fancy for a bank, you gonna tell me what I’m getting out of here?” you muse.

“That’s on a need to know basis sweetheart.” He responds flatly.

“Well sweetheart, hate to break it to ya, but I need to know!” you pause for a moment to see if you’ve managed to make him laugh “Seriously Calvin this is some of my best stuff!”

“God do you ever shut up, cameras and emergency buttons are down, you just have the guards to worry about now so get on with the job. Once you’re out make sure your face is covered. Do you have your mask with you? ”

“”You know as the person doing most of the brute work I think I deserve a little respect” you retort “Do I have my mask? Do you have your mask Calvin? God your infuriating!” you mutter, pulling out your “mandatory” earpiece and throwing it into a nearby gutter, before taking a quick glance in your purse just in case you had forgot.

Seeing the mask in its place, you pull your leather jacket over a white t-shirt and tighten your belt ensuring your shorts stay in place. Alright let’s do this you think with confidence before immediately tripping over your shoe laces and falling to the ground.

“God how embarrassing” you say slightly louder than you meant too. Pushing yourself onto one knee you tie your laces up and hop back on your feet “Alright let’s try this again.”

You walk through the sliding doors into the marbled interior of the bank, smiling as you pass by two security guards. One with a long mustache and another with a poorly done tattoo of a tiger on his bicep. You make note of the other two guards who were currently leaning up against the roman-esque columns lining the perimeter of the building. One was wearing sunglasses and the other was casually twirling a baton around.

“Hey, only four of you guys defending this whole building?” You inquire

“Ya sweetheart just the four of us, but don’t you worry we’ll keep ya safe” Tattoo replied with a smile and a slightly unnerving arm touch.

“Well thank goodness for that and god bless America!” you say sweetly grinning from ear to ear. Turning on your heel you head towards the counter ringing the bell twice before a woman in her mid-twenties appears from the back room and walks over to the counter. She’s wearing a name tag that reads Sandy.

“Hi there Sandy, how are you today?”

“I'm doing just fine thanks for asking and what can I do for you today?” She replied with a smile.

“I’m here to retrieve my belongings. Vault 176 here’s the key.” you say sliding it under the protective glass. Sandy smiles politely and walks into the backroom for a few minutes before emerging with a small box.

“Alright, I’m just going to need see some ID then your good to go ma’am”

“Well you see Sandy, I left it at home and my husband’s gonna kill me if I don’t get this back to him tonight could you do a gal a favour and just look the other way?” you plead

“I’m really sorry ma’am, but I just can’t do that.” Sandy replies sympathetically.

“Well I understand,” you say “Oh and Sandy, I’m sorry about this really I am”

“Sorry for what exactly ma’am?” she asks with a worried tone

“For this' ' you jump onto the counter and pull out a gun “Hi, yea, hello, people of the bank can I have your attention please? I just wanted to inform you all that I’m gonna be robbing this branch, but this does not mean it has to be a traumatic or unpleasant experience. I just need that box there and I don’t want anyone to get hurt, really I don’t. So if you could pretty please hand it over to me and any spare cash you have lying around this joint.”

Unfortunately, Tattoo, Mustache, Sunglasses, and Twirly were now approaching you with guns raised.

“Ma’am drop your weapon and put your hands where I can see them” demands Mustache

“C’mon sweetheart we both know you don’t know how to handle that thing.” Sunglasses says patronizingly

“Fine you got me glasses.” you pout “My little lady brain doesn’t know how to use a gun!” you exclaim before quickly throwing the gun at him, hitting him right in the head and knocking him out “ You’re supposed to throw the gun right?”

Mustache rushes towards you at full speed. Before he can reach you, you jump off the counter connecting the soles of your feet to his face knocking him down onto the floor unconscious. You land painfully on your hip feeling a bruise forming almost instantly.

The last two guards begin their approach. From the ground you kick Twirlys feet out from under him and jump to fight the baton out of his hand. Punching him in the throat you stand up and turn to knock tattoo, your least favorite of the four, right in the stomach with the baton. He doubles over in pain. Twirly tries to stand up, but you bring the top of your foot down on his neck causing him to drop, this time staying down. Bringing the same leg forward you knee tattoo in the nuts and feign a pained look as he topples over. Bending over you pick up the three guns now lying on the floor

“You know, you should really learn how to use these properly. Wouldn’t want you hurting anyone, especially yourselves.” You scold. The few people in the bank remained still and decided it was probably best to comply with you. You turn back to the counter now sweating, and Sandy hands you the box from the vault and a bag full of cash which she had filled during the beatdown.

“Thanks Sandy you’re a peach!”

Sandy looks at you pleadingly “Oh come on, we both know you ain’t gonna get fired because some lady came in and threatened you. If anything you should sue them, unsafe workplace and all” you offer sincerely with a shrug of your shoulders.

You gingerly step over the four guards lying on the floor and slip on your mask before exiting the bank.

Monday 10:25 AM Avengers Tower

A field agent runs into Tony’s office where he and Steve were working “Sir one of the downtown branches has been broken into!” he wheezes.

“And?” says Tony

“And you’re going to want to see this” He pulls up a video taken by one of the bystanders in the bank. The video depicts the scene of you beating up the four guards.

“You know who that is?” Steve asks Tony

“Never seen her before in my life, which is surprising considering how well she fights. Let’s get in for questioning. I'm a bit busy here so Steve if you wouldn’t mind.” He says turning back to his work.

“Peter, Wanda suit up, we’ve got a robbery to stop” Steve orders.

10:35 AM Downtown N.Y.C

God this mask is hot you think struggling to get the eyes hole in place as you approach the white van concealing Calvin’s whereabouts. Knocking three times he open the door and you

throw the small box from the vault up to him.

‘’What have I told you about taking out your ear piece?” he fumed “And what the hell is in that bag?” he shouts pointing to the large bag of cash you had grabbed.

“Money.” you say with a shrug of your shoulders.

“Last time I checked boss said no extra risks, he ain’t gonna be happy about this.”

“Well last time I checked he likes money” you respond causing Calvin to become even more agitated. As you turn to grab the money you see a ball of red light come hurling at you. You duck just in time.

“Shit, how the hell did the goddamn Avengers get here so fast?” Calvin shouts, you grab the money and throw it into the back of the van he extends his hand and you’re about to grab it when BAM something hits you in the back knocking you forward.

“Alright who the fuck threw a whole ass shield at me!” You yell more irritated that angry

“We gotta go c’mon Eve” Calvin pleads “Boss really ain’t gonna like this!”

“Screw that, this just got personal! Go, i’ll catch up” you promise turning and running towards the shield throwing culprit a.k.a Captain American. You kick him right in the gut having caught him slightly off-guard he doubles over. You remove your belt and wrap it around his neck pulling as hard as you can.

“Aren’t you supposed to be a superhero or something?“ you begin to ask, but before you can fish the sentence something slaps you in the back of the head pulling off your mask. You're thrown off the captains back.

“Shit!” you mumble before turning to see one of spidey kids webs still holding your mask.

You hear her before you see her “Chris?” you turn to see someone you hadn’t seen in years

“Wanda?” you blink a few times no it can’t be. Just then a truck skids up behind you and firm hands hoists you up

“We gotta go now!” Calvin says angrily, shooting suppressing fire out towards the three avengers.

“Chris!” Wanda yells again before throwing energy towards the truck. You pull the air around it and throw the energy back her way.

With Spiderkid and the captain still on your tail you decide to pull out a few of your old tricks. You pull the branch from a tree up and wrap it around the kids arm trapping him in the tree

“Um Mr. Rogers I’m down and out” he sighs.

“Two down one to go.” you focus on the captain who's now running through the street after you at superhuman speed. Lucky for you it had rained the day before on the street was full of puddles. Crouching down you turn the puddles to ice causing the captain to wipe out. Hard. Closing the doors of the van as It turns the corner you make your way back to your headquarters.

“They made me. Spider kid took my mask.” you whisper hoping Calvin doesn’t hear you

“He ain’t gonna be happy” he chastised.

“God you don’t think I already know that! At least we got the goods. He’s gonna be real happy about that!”

[darks-ink]

Electricity - Ectoberweek 2019

A short one today, because I forgot that I’m really bad at writing pointless fluff. I just don’t get through my words if there isn’t at least a tiny bit of plot to support all the banter. But I also didn’t want to throw out my idea and write angst, so...

Rating: General Audiences / K+ Warnings: none! Genre: Humor, Fluff Words: 1,961 Additional Tags: Banter, Light-hearted, Puns & word play

[AO3] [FFN]

---

Lightning ran over Danny’s skin, simultaneously hot and cold, branching to cover every inch of his flesh. Its currents ran under his skin, electrifying and sharp.

He let out a breath laugh, twisting his arm to watch the play of energy and light where it danced over his skin.

“Okay, that’s pretty cool,” Sam said, leaning in closer. The light of the electricity, ecto-green in color, reflected in her eyes. “And it doesn’t hurt?”

“Not at all,” he assured her. Her, and Tucker, who maintained a careful distance. “It’s a little… electrifying, but it’s no more painful than any of my other powers.”

“Ha ha.” Tucker rolled his eyes, pushing his PDA a little further away. “You keep that power away from me, Fenton, until you can assure me that you won’t fry my electronics.”

“Aw, Tuck,” Danny whined, pouting at his friend, “but what if that never happens? How am I supposed to hug my bestest bro if he won’t let me come close?”

Danny shifted like he was about to stand up, and Tucker hissed at him like a cat. “Don’t you dare! You hear me, Fenton? Don’t!”

He laughed, but sat down again. “Alright, alright. Settle down already, Tuck, I’m just joking.”

Tucker huffed, disgruntled. “Yeah, uh huh. I’ll believe that when you stop having live electricity running down your arms.”

“Technically,” Danny said, lips twitching into a smirk, “it’s dead electricity.”

Both of his friends groaned, loudly, and Danny laughed. “Sorry! I couldn’t resist it!”

“You never can.” Sam shook her head. “It’s Tucker’s fault for giving you the set-up.”

“Hey! Don’t blame me!”

“Can and will!”

Danny rolled his eyes, cutting off the stream of lightning that was pouring down his arm. “Alright, that’s enough. Here, is that better, Tucker?”

The boy hummed. “Well, I suppose that it’ll have to do.”

---

The ever-constant buzz of electricity hummed under Danny’s skin. He felt restless, the energy crackling and demanding a release he couldn’t give it. Large displays of power were bound to set off all kinds of radars his parents had set up, never mind the damage that he would undoubtedly do to all the electronics in the house.

Really, he didn’t know what he would do if he fried the microwave. Rely exclusively on his parents’ cooking? Absolutely not. Not only would he rather die, he probably really would die if he tried.

Jazz looked up from her book, fixing him with a speculative gaze, and he stilled. Hadn’t even really realized that he’d been moving, jittering restlessly.

Although… now there was an idea.

“Danny?” Jazz asked, cautiously, when he stood up from his chair. “What’re you-- Hey!”

He quickly ducked away to avoid her swatting hand, his core quickly replenishing the little charge he had lost shocking Jazz. He’d been careful to restrict it; the zap had been little more than what she might get from static.

“You little brat,” she said, grumpily, but with an undeniable fond undertone. “Keep your static to yourself, will you?”

Danny hummed, pretending to think about it. Then, lightning-fast, he tapped her, zapping her again.

“Hey!” She glared at him, putting down her book entirely. “The first time I was willing to pass off as regular static, but there’s no way you could’ve recharged it that quickly. Are you going to tell me, or am I supposed to guess?”

“Eh.” He glanced over at the door, making sure it was closed, and that his parents were staying downstairs. “It’s a new ghost power. I can generate electricity, I think? But I’m having some trouble controlling it still.”

He tugged on his core, the electricity running through his flesh sparking through it, forming visible branches of lightning. The release didn’t last long, however, because he heard footsteps on the stairs and was forced to cut it out quickly.

“Huh,” Jazz said, briefly looking towards the stairs. Had clearly heard their parents coming up, too. “That’s pretty neat. Definitely something you would need to learn to control, though. Lightning is--”

“I know,” he interrupted her, rolling his eyes. “Believe me, Jazz. I, of all people, understand how dangerous electricity can be, especially when charged with ectoplasm.”

She made a face, clearly disgruntled by his interrupted, but nodded. She opened her mouth as if to add more, but the door to the lab slammed open, their parents entering.

Jazz shot him a look that clearly said that they would be talking about this more later, but…

Well, he might’ve pretended not to see.

He could handle it just fine without her, he was sure of it.

---

Danny yawned, idly twisting his locker open. Despite all the energy he could feel coursing in his body, he was still exhausted.

Well, he supposed that he might be tired because of the electricity. Generating so much charge so constantly was probably something he should be compensating with more food and sleep.

Ah, if only he could afford such luxuries. He could barely get enough sleep to support his body normally.

A hand grabbed his shoulder and turned his around forcibly, and he startled back to awareness. Dash loomed over him, face twisted into a snarl.

“Fenton!” he growled at Danny, hands balled into fists. “You ready for a bit of fun, huh?”

“I don’t know, Dash, what do you have to offer?” Danny taunted back, not feeling particularly threatened. He saw Sam push her way through the crowd already, Tucker right behind her. And even without them, well… Dash wasn’t all that scary if you fought ghosts on a daily basis, was he?

“You feeling smart, huh?” Dash reached forward, grasping onto Danny’s shirt, lifting him up slightly.

Then the boy suddenly let go, yelping.

Danny landed roughly, caught off-guard by the sudden drop. Blinked confused at Dash. Why had he…?

“What the hell, Fenton!” Dash flapped his hand a little, like he was shaking off a small hurt. “You think you can save yourself with a little static, huh? Well, too bad.”

He reached for Danny again, taking hold of Danny’s collar once more. And again, he was forced to let go, hissing between his teeth.

“Oy, what the--?”

“Leave him alone, Dash.” Sam shouldered her way past Dash, stopping right next to Danny. Crossed her arms and glared at him with her full goth fury. “Or are you bull-headed enough to try that again?”

Dash shot her a sharp look back, then shifted it to Danny when Sam failed to falter. Seeing that neither of them were responsive, he huffed loudly. “Ah, what do I care. I’ll see you, Fenton,” he narrowed his eyes at Danny, “some other time when your girlfriend’s not around to save you.”

Danny rolled his eyes. “Sure, Dash, whatever.” As Tucker sidled in next to them, he called after Dash, “And she’s not my girlfriend, by the way!”

The three of them watched Dash walk a little further away, the boy digging a hand into his pocket to retrieve his phone. Then, suddenly, he shouted in anger.

His phone had died.

Danny winked at his friends, who both grinned back, knowingly.

Ah, it felt good to get a little petty revenge sometimes.

---

Danny walked into the kitchen, arms stretched out over his head. His spine crackled with the movement, his spine noisy as its vertebrae shifted into their proper alignment. He yawned, idly scratching his left arm.

The electricity under his skin was still present, strongest in the arm that had taken the initial charge of the Portal. In his ghost form, he could see the sparks shift along the scar it had left. In his human form, he had no scar, no monument to the accident.

Not until now, at least. The metaphysical scar formed by the constant currents of lightning, forever trapped in his skin, and ever-shifting.

He forcibly took his right hand away from his arm again. No scratching. He didn’t want to risk breaking the skin, releasing the power that laid underneath it. Baring the scar that laid underneath it.

Still, his core hummed in discontent. It continued to produce electricity, energy that Danny couldn’t release.

Licking his lips, he eyes up Jazz sitting at the kitchen table, breakfast in front of her. Maybe he could…

He snuck over to her. Not the stealthiest, perhaps, but stealthy enough thanks to the book distracting her. Then he placed his hands on her shoulders, making sure to draw back enough power that it would be little stronger than static.

“Danny!” she yelped, jumping in her seat. “What--”

“Again?” his mom asked, her eyes narrowed as she looked away from the pan with eggs. “Danny, stop shocking your sister.”

“Sorry,” he said, pulling up his shoulders, feeling chastised.

“How do you keep getting so much static, anyway?” His mom shook her head, turning back to the pan, thus missing Danny’s panicked glance at Jazz. “It’s almost unnatural, how much charge you keep accumulating.”

“Unnatural?” his dad echoed, suddenly drawn into the conversation. “Why, it must be--”

“It’s not ghosts, Jack!” Maddie snapped at him, shooting him a sharp look. “Honey, not everything is the fault of ghosts.”

As his dad pouted, Danny shot Jazz a half-panicked, half-relieved look. She returned one much the same, although somehow much more comforting. Also somehow chastising at the same time.

Yeah, he was pretty sure he was gonna stop with the zapping other people.

At home, at least. No promises on using it against Dash.

---

Danny rose up, higher and higher in the air, arms flat against his sides and legs merged into a spectral tail. Even with the wind buffeting him, he could feel the electricity coiling underneath his skin, his jumpsuit.

Suddenly he stopped, the ghost chasing him not realizing until it hit him. He grabbed it, hands fisting the longer fur on its neck, and he grinned down at it.

Then, for the first time since he’d gained his new power, he let go of his grip on the electricity his core was generating.

Lightning crackled out of him immediately, lancing through his ectoplasmic flesh. Cleaved through the air with a booming crack like thunder.

But it didn’t hurt.

If anything, it was elation that Danny felt. Pure bliss, like an increasingly heavy weight was finally taken off of his chest.

The ghost he held yelped, and he released it, watched as it fled. He felt certain that it had been properly chastised, that it wouldn’t risk bothering him again.

Still, he yelled after it, “Shocking, right?”, grinning to himself.

He let the lightning crackle over him a little longer, branching over his arm and his chest and through the air around him. Then, after a long moment, and with a heavy sigh, he pulled back on his power again.

Well, he got to use his new power in a fight, at least?

Danny flew back down to the ground, made sure no one was watching him, and shifted back to human form. He stuck a hand into his jeans to pull out his phone, going to call Tucker and Sam so they could reunite. He’d lost them sometime during the fight.

He pressed the on button on his phone. Pressed it again, frowning as it didn’t turn on. Disgruntled, he held it down a little longer, waiting for it to turn on.

When he finally realized that it wasn’t turning, he sighed.

“Of course,” he grumbled to himself, stuffing his phone back in his pocket. “Of course the stupid thing got fried. Should’ve known.”

And he slumped off, hoping to find Sam and Tucker on foot.

(He was relieved to find, when he returned home and plugged his phone into the charger, that he had just drained its battery, and that the phone was otherwise fine)