#(but more complex lines are like...the difference between understanding basically what it means)

[egophiliac]

I’m not a Ride Kamens player but I’m looking to be. Saw your art and was wondering if you could tell me how to pop on pls 🥺

(also wonderful art. it tastes like fruit gummies. to me specifically)

thank you!! :> right now Ride Kamens only has a Japanese version; if playing it directly works for you, there are download links and more app info on the official site! they've started teasing part 3 of the main story coming out soon, so it's not a bad time to jump in. 👀

if playing in Japanese isn't an option, then unfortunately I think English translations are still pretty difficult to find...I know there's some floating around YouTube and various blog sites for the first couple of main story chapters, plus a handful of card stories, and I think that's about it. :( I have heard there's a fan discord with rough translations/summaries(?) of most of the main story + events, but I'm not sure about the details on that?

I think it's definitely worth checking out if you can though! come join us all in agreement about who the best character is and why it's Leon

[the-rebel-archivist]

Finally finished Veilguard a few days ago and took some time to process and put my thoughts in order. In brief: 8/10 game as a whole, a really fantastic gaming experience, but 5 or even 4/10 as a dragon age game since it does no meaningful exploration of any nuance or moral complexity and seems to have forgotten what made Thedas distinct. My thoughts, critical and positive, coming from a place of love for the series with little to no spoilers:

Thedas has always been special to me because it was a nuanced world. Different groups had different opinions based on their pasts. City elves and the dalish had divergent histories. Injustice against magic was common, but you could understand the justification for it even when you didn’t agree. Now, the worldbuilding is flattened. A mageocracy is fine, it’s only bad apples. Slavery is never addressed. City and dalish elves are basically the same but one lives in the forest. There’s no conflict about what’s best from each individuals’ perception, all groups are monoliths.

“Elves won’t follow the gods just because they’re elves,” yes they would, in past lore. Perhaps not all but some would - these are their Creators. The game refuses to deal with religious belief in any meaningful way, to the point that I don't know if its impact is fully understood. Dalish religion is as much about cultural preservation as religion and it would be CRUSHING to lose that connection to the past when it had been all you could cling to for thousands of years.

And no, seeking out relics of Arlathan would not make up for the foundation of your society shattering and what that would mean to the dalish. Bellara being guilty that her gods are evil is not the takeaway I expected when I thought the dalish would explore that everything they believed was a lie. I'd also like to briefly comment on how an elf can comment that they weren’t raised dalish but adopted their tattoos. Their closed practice tattoos. Closed even to city elves unless they fully joined a clan. Removing cultural boundaries didn’t make the material less 'problematic', it just created a new blind spot.

“They’d never sanitize the Crows” I said before release. Assassins who walked the line between murderer and hero depending on perspective. But in this game they give you absolute truth: they’re freedom fighters. Responsible government who, the mob is benevolent and that is never subverted. They see themselves as the 'good guys' and so they are.

“They wouldn’t put powerful mages in charge of the shadow dragons” I said. “Surely they will explore the nuance of Neve having the privilege of magic in a mageocracy even when she comes from a lower class beyond ‘everyone is welcome in the shadow dragons’.” “Surely if Maevaris is connected her intersectionality as a magister and altus and trans woman will come up - not what Tevinter expects, helping with change, but still privileged and upper class. Surely low class non mages and slaves would be leading the Shadow Dragons, not the powerful being benevolent.”

But no. All factions in the game are black and white, good and evil, no moral complexity. The bad people want power and collect bad people who want power and only bad people do bad things. The antagonists I liked most were the ones with a motivation beyond simply power and they were few.

And that’s setting aside the fact that all of the mystery and fantasy was removed from the setting by the end. The things that mattered before, the religious conflicts, the approaches to history? All false or meaningless now that we know absolute truth. Everything that set Dragon Age apart from generic fantasy was flattened. All of the lore for the world that I had spent hours, days, years in and creating fanfic for became simple groups of good and bad, subjectivity replaced by objective truth. It’s not a world I want to unravel and explore anymore.

That hurts more than the slap in the face that was every cameo and past reference. If they wanted a soft reboot, why include them at all? Every time I saw or heard about a past character or event I felt hurt and angry and it actively harmed my experience of the game. When the choices are pared down to only do something "meaningful" with them and then that meaningful thing is a codex that had been so disdained in dev comments? I do feel pretty let down. Especially when that codex isn’t even personalized.

They never use Rook or the inquisitor’s first name in text once. Vocal I get, but no codex? The Inquisitor, a person depersonalized into a symbol, signing off “Yrs. The Inquisitor” when we input their name in CC was a twist of the knife I didn’t expect. It’s like every time I lower my expectations to grant grace they need to be lowered yet again.

Similarly, the romances in the “most romantic game yet” are paper thin throughout the game depending on your choice, with few chances to truly connect on an emotional level and have deep conversations in some routes. It’s not all about kissing but having the chance to say how you feel, or try to.

But that’s part of a larger problem, that this is a “found family” but Rook is the outsider in it. Rook isn’t asked how they’re handling things or about who they are or what they want except by Solas. The team needs them to fix problems but has little interest in giving back. The companions are lovely, but I can’t help wishing they were friends with me and not just each other. Or wanted to romance me and not just each other, as they begin to flirt before I can and have more banter comments than the player romance. At least if no one got me I know Davrin got me.

These last comments are the reason it’s 8/10 as a game rather than 10/10 for me - the lore I care about but others won’t. The lack of connection is a genuine issue, along with how unbalanced it is depending on romance. I just feel sad at the lost potential to reflect and gain support from companions.

On a positive note, this is the most fun Dragon Age game I’ve ever played. The gameplay is top notch and combat is so fluid and fun. I felt excited to fight rather than dreading the next battle. Really getting into the roleplay of a slippery rogue

The environments are so gorgeous. Lighting, animation, level design, sound design, all spectacular. I’m bad with maps and yet I never got lost and always managed to find my way around. Secret passages to treasure were just the right length to be satisfying. The puzzles were exactly the right amount of investment for the reward. I never felt frustrated by them but also not disappointed by the simple ones, there was a good balance. I had a lot of fun uncovering them. So many areas looked like a perfect representation of thedosian places I had never been to and wanted to visit.

Every time I was in the necropolis it felt like coming home. Maybe it’s because the lore was the most similar to past lore, maybe it’s just because it was cool, but I loved being there. I loved the wisps most of all. And I loved Emmrich’s journey and sympathetic exploration of death. The Hossberg Wetlands were also a standout area. Absolutely horrible (complimentary). Evka and Antoine my beloveds and the environment storytelling was fantastic. Like a hideous combination of the Fallow Mire and Chateau d’Onterre and I was so there for it. Davrin’s story broke my last flight loving heart.

The set pieces and narrative flow in the major battles and main story missions is really wonderful. I also did enjoy the faction reactivity, even if there were few chances to explore the intersectionality of being a particular lineage with a particular faction. I’ll make our House proud Viago!

It’s such a fun game that when I play I can almost forget all of the things that I dislike until a codex or cameo punches me in the face. It has such great gameplay that I can finally discuss DA with my partner who refused to play the other games in the series. But what a monkey’s paw. I know from their previous work that they can foster nuance. From the art book that their instincts were there from the beginning. But somewhere after multiple reboots they made a world with contradiction and complexity removed, more reactive to fan discourse than to telling a complex narrative.

It kills me because if the nuance and subjectivity and moral complexity had been there, I would have considered this the best Dragon Age game ever made. It will always be the most fun. But it is legitimately more fun for people who don’t know lore than people who do, and that is soul-crushing. It's the most beautiful Thedas has ever been, and the least like Thedas it has ever felt.

I’ve played it once. I already started a replay. I enjoy the game a lot when I am playing it, overall. But I miss Thedas, and I miss that the “world worth saving” that I cared for is a slate wiped clean and this new world is a more simplistic place.

[readingtoinfinity]

Jelloapocaylpse and One Piece

So, there's this thought I've been having about gigantic franchises: any criticism against them needs to be taken with two specific grains of salt. First, people who dislike the franchise will be more annoyed by its flaws because of overexposure, and second, reactions to these criticisms will be overblown because there's so many more fans. I'm of the opinion that you shouldn't respond to criticisms of your favorite things if they're enormously popular, meaning I'll be more silent on negative reviews of things like Critical Role, One Piece and Brandon Sanderson's works than I would be for smaller things like Wayward Children, Grimm or The Craft Sequence.

But when these two grains of salt come together? Oh, boy. OOOOOOOH boy.

I love So This is Basically..., and have since I discovered the channel. A good chunk of my humor comes from the jokes in those videos, and even for something like Kingdom Hearts where it's negative, I still enjoy both the video and the franchise, so I've elected to let it be. But in his recent video on One Piece, while it was funny he got so many things seriously wrong about the series that I've struggled with whether or not to say something about it. I think the artistry on display in the video can get drowned out by the negativity being poured into it, and while I don't have much of a platform I can yell into the void like the best of them, and it's bothering me enough that I want to lay some things out.

So, for your discretion: a time-stamped review of Jelloapocaylpse's So This is Basically One Piece. I will endeavor to only time-stamp things I found wrong about the series. I understand jokes aren't meant to be taken seriously, but I think humor is revealing, and if we can dissect the jokes of the anti-woke crowd to find the ugly truth within, we can do the same to ourselves. And if I can shout out a more complicated thought about One Piece from a joke then I will, and even point out moments where Jello is right.

I will not talk about Brendan Blaber's personal life nor his anime work. I am aware of what happened with Lovely★Complex but find it immaterial to the video on his YouTube channel. Perhaps his motivations were dishonest, and that could explain his rampant dislike of the source material; at this time, I don't think it factors in, but if I'm proven wrong I will make an edit with the proper updated information. And, per a beef I have with the video itself, I also want to stress that you should not harass nor send death threats to people you dislike, especially about a piece of media. THIS INCLUDES ASSHOLES.

With that, let's begin. Video is included so you can follow along. There will be spoilers freely discussed; be forewarned. If I am wrong, chime in and correct me; I am not above mistakes.

0:08: This is a fun callback to the 4Kids dub of One Piece, which is widely reviled but for some small moments of genius.

0:11: an out-of-context, raving explanation of the worldbuilding, which is entirely correct.

0:38: Incorrect. The Grand Line is specifically written to be hard to get into and out of unless you have the tech for it. This is a big deal in both the manga and the anime and I don't know why/how he missed this.

0:50: This is a fan theory. I was willing to accept it but googling it turned out it wasn't correct. The following jokes require this to be true, however, so creative license applies.

1:06: Arguably true, and I say that because, while each of these characters technically has a different power, they're all used to manipulate the environment and stone like it's water. That's a thing and a theme in the series; Luffy even gets to fight Charlotte Katakuri, who has a similar Devil Fruit. Call it lazy, call it creative, it's debatable, and funny.

1:11-1:38: the following explanation is also true, but insulting. The boundaries between each Devil Fruit are more fluid than the initial system lets on, true, but as in real life aggressive categorization is usually incorrect and uninteresting.

1:43: The description of the fights applies less to One Piece than Shounen as a whole. You could be uncharitable and say it describes all fights, but I will restrain myself. A lot of fights do have an element of unpredictability to them; sometimes it's the randomness that feels realistic and other times it's Deus Ex Machina. You could argue the fights are more about the philosophical difference between the two (Sanji vs Wanze comes to mind) but it makes for long, drawn-out fights. I think most of the pacing problems come from the anime but I've been annoyed by the manga as well.

1:55: It is true that Robin doesn't get many fights, which is disappointing as a Robin fan. And I won't deny that sexism pervades the writing of One Piece when it runs unchecked. But I don't think the two are related; Robin's fights tend to be brutal and fast, and she deals more with grunts than generals. The exception is Robin vs Black Maria, which was Very Good.

But her focus in the story is less on fighting and more about archeology and history, and in that case she often reshapes the way we see the world with her investigations. Fighting ain't all there is to a Shounen series, and the wise reader remembers this. (this point copied wholesale from Anthony Gramuglia)

Obligatory "Yes One Piece is very long and I hope it ends well".

2:02: The espionage episodes are quite good. But I think this conclusion draws from the dislike of the adventure and action, so you need to agree with the first to reach the second, and I do not.

2:08: I had not realized how many islands were circles in One Piece so that criticism applies even if it doesn't mean anything for the quality of the series. But Punk Hazard isn't about stopping Smiley (who barely features) and I would argue that "natural disaster" doesn't apply to some of the threats the crew faces, and it's definitely not every arc.

2:24: only Punk Hazard was (half) on fire. Fires do happen a lot as a way to push tension but the arcs were flattened to make this point.

2:30: "from the jungle" is the best joke in this episode.

2:37: "Hit 'em with the poison that doesn't work!" happens a lot as well. It is often because the characters have to figure out a way around it, like other protagonists do during Good Fights.

2:46: This is a weird take. I know Zoro is an asshole but sexism was something he hated in his childhood and that disdain forms a big part of his personality. You could also call him Minority Hunter like the fanbase does, given he fights mostly black people.

2:52: Nami's not gay in the series, not explicitly, anyways. Alas.

2:56: God, to be a Sanji fan is to suffer. He has some of the best and worst moments in the series and the live-action series made him a bajillion times better.

3:15: good follow-up on a joke with a bad setup.

3:16: I'm annoyed Franky was removed from this. He's a lot of fun. And I'm also annoyed that you talk about Sanji's perversions but don't bring up Brook who is arguably worse in every way. These as well as Chopper and Jinbe get flattened for the sake of this video, and considering Chopper is my favorite Straw Hat this very much annoys me.

But he does make a point about these characters: Robin through Franky don't get to do as much throughout the series. They're often rendered as side characters who react to things instead of having their own arcs. For all that Thriller Bark was Not Great, Chopper was given an arc that ties very directly into who he is, and I'm saddened we didn't get something like that again until Wano.

3:21: The characters have personality, it is just now shown in this video. Usopp is not given a description and Nami is summarized as "lesbian" with nothing else of their character depths.

3:26: again, the best joke is the jungle joke.

3:39: I am not certain we're supposed to like Aokiji. He does some pretty heinous things throughout the series. Garp is a more-interesting case, in that his loyalty to the World Government is treated as his greatest flaw, but he's also an asshole. It's almost like he's a very complicated character or something.

3:47: This is the part that I kept coming back to, the part that's most insulting. I am bad with names so I admit I had to google this fish-man's name, but his name is Macro, he was a member of the Sun Pirates and he didn't keep slaves. The Sun Pirates especially freed any and all slaves they came across because they were also enslaved. Arlong did keep slaves but he was not enslaved himself, and the continuing stain of racism and slavery washes out over the rest of the series itself almost as if it were good or something. Out of all the things to get wrong, this one was the most egregious.

4:00: The Marineford arc was VERY LONG. A lot of stuff happened and it affected the pace quite a bit. The dig at the author is unwarranted.

4:07: FROM THE JUNGLE BA-

4:15: I'm torn on this complaint. On the one hand, subtle foreshadowing is usually the way to go when it comes to announcing what is going to happen. On the other hand, you can easily forget a lot of things that happen in a single narrative so sometimes twists come out of nowhere.

However! This complaint is mitigated by the fact that the series will readily bring you up to speed on context whenever it's necessary. Take that as you will.

4:20: Localization is a Thing™ that happens and translation hasn't always been the best. I first learned the word "nakama" from Japanese because of a fansub of this series that insisted it wasn't just "family". I am also annoyed by newer chapters that insist on calling the swordsman "Zolo", and these issues extend to the fan wikis. This has nothing to do with the show or manga, however.

4:33: There are a LOT of characters, true. Whether or not that is too much is debatable; they are drip fed to the reader over the course of all the chapters, and even if there are twice as many characters as chapters (there are not) that's two characters per chapter to introduce. That's not a lot for an audience to read; if you've gotten through Wheel of Time you will be fine, but this ties into a latter issue I'm about to bring up.

4:47: I'm almost certain these characters were chosen at random. On a whim, I decided to return the favor and pick a character at random to defend its inclusion. That turned out to be Pekoms.

Pekoms is a character in Big Mom's crew, loyal but deathly afraid of her. He's defined both by this bond to Big Mom as well as to his Mink heritage, and he takes pride in both. It's only when he learns of the Straw Hats' defense and salvation of the Mink Tribe that his courage starts to grow to outweigh his fear, and he eventually turns on her in response to the sacrifice of a friend of his, demonstrating the themes of the Whole Cake Island arc: a family bound through fear is a temporary measure, and it will fall apart when something better comes along.

I bet you could make a defense of just about any character he removed, even characters that are bit players. That's the thing, too: complaining about "too many characters" ignores the fact that sometimes, the guy who gets one line also gets a name. A stage play should be stripped down to pure essentials, not so much with mediums you can edit.

And fuck, he cuts out Yamato?! The best guy around?!!

5:07: It's very strange that he says the Straw Hats don't have any meaningful dynamic with each other when the #1 thing people keep asking for is downtime so these characters can hang out and interact almost as if their dynamics are what carry them through the arcs. I mean, it has been a while since some characters interacted, true, but remember: there are 10 Straw Hats on the crew. That's 45 different interactions that are possible. There's, sadly, not gonna be enough time for Robin and Jinbe to sit down to tea with everything else going on.

(Also I know that in Wheel of Time (the closest approximation in length) Rand, Mat and Perrin have a wonderful dynamic and then don't talk for several books. Sometimes the plot happens, but I don't know if people hate this part of the series so this might just be me; I stopped reading during The Path of Daggers or The Winter's Heart, I'm not certain. I remember being annoyed by Tuon a lot)

5:26: I'm going to divide this between the two questions people asked on SBS. None of what happens with Fuckass Joe in this question is relevant to One Piece as a whole because it doesn't happen in the story proper. But the way the video frames Oda's relationship with his editors is weird.

5:47: I'm gonna be honest this is a really weird question to include in SBS. Whoever sent it in definitely has some things going on, and while Oda wasn't responsible for it (and he answers the question with annoyance and confusion) the fact it was included at all speaks to the priorities of the people writing it. Again, this is about SBS and not really relevant to the manga as a whole but I think you can absolutely be critical of this with Oda.

5:54: There's three complaints in here in rapid succession, so I'm going to go through each:

"Breasts grow larger": absolutely a thing that happens. It's a well-documented annoyance in the fandom at this point, and hard to miss.

"Negative space grows rarer": I'll be honest, I didn't notice this as a problem. So I went back to the manga and re-read chapter 1, chapter 1133 and chapter 566 (about halfway through). In the first chapter, there is a lot more negative space in the panels so you focus more on the characters, and there's a lot more characters and background details in the latter chapters, but it's not hard to follow even still. So I'm not certain this is an issue, but it could be an eyesore; adding detail is not always to the good.

"Oda doesn't credit his assistants" I didn't find the names of his assistants through Google. The fact it is hard to find is telling, either for Oda or search engine optimization. In either case it's nothing to do with the manga. It should definitely be easier to find these names.

6:07: The sketchy art had a purpose in a flashback, showing someone losing memories (and on a more-meta level I think Oda had a health emergency... correct me if I'm wrong). I don't think the artwork has changed overmuch from the beginning, and there's a conversation to be had about the changing amount and quality of the details, but given it is shown that they're specifically referencing that kind of art I wanted to respond to that directly.

And the pot-shot at the anime is more deserved. The fact it's weekly means quality can vary wildly and characters are often drawn off-model in a way that's meant to be sexy but doesn't look very good. (I couldn't find it, but there's a specific part where Nami gets injured and scuffed up, and the anime adapted it more sexually than the manga made it. Not that it was nonexistent, mind you. This part is a "trust me bro" more than the others so please keep that in mind).

6:17: The pacing in the anime can be quite bad. The joke with the water slowly turning yellow is also quite funny.

6:38: This is debatable. The story has happy and sad moments like most good stories and it's an adventure story, with a focus on fun. But the story is also willing to leave you with strong negative emotions and just deal with them, the backstories being the most notable examples of characters dealing with trauma.

6:46: This criticism is overblown but not incorrect. Pell should have died from that explosion and I stand by that, but no consequences to anything? There are whole chapters where the balance of the powers of the worlds are shifting and these consequences play out. Whole arcs are built from the consequences of of the death of Whitebeard alone and, as Anthony Gramuglia pointed out in his stream (I'm still watching it to conclude its accuracy) if the manga has intense foreshadowing and knows where it's going that goes against the "no consequences" criticism. (again, thank you Anthony Gramuglia for this note)

6:54: Uta is from a movie that is non-canon, even if she exists in-story. It would be unreasonable to note any criticism of the story from One Piece: Film Red because it's unreliable as a foundation.

Yasopp leaving Usopp is something the fans have complained about for some time now. At this moment we don't know if he had a good reason for leaving beyond heeding the call to adventure, but I know I, personally, think it was a dick move.

7:03: I find this next part disingenuous, for all the potshots Jello takes against Oda before and after. It's also unrelated to the story as a whole (mostly) so I'll be skipping through it.

7:26: I think this criticism stands. Oda is very weird about women in the story and tends to draw them a specific way (thin waist, large bust, tall and lithe). This doesn't stop almost all of them from being interesting characters, mind you, but it's something to keep in mind as you read the story.

Also, if you were going to criticize Oda for Ephebophilia (sexual interest in mid-to-late adolescents, according to le Wikipedia) in his story, that's great, but if you're going to take potshots at him why don't you also mention his friendship and defense of Nobuhiro Watsuki, writer of Rurouni Kenshin and most-known for possession of child pornography? Why drag the family into this when they have nothing to do with Oda's behavior or predilections?

And that's that. I won't be doing this too often (I am a writer and a critic, not a drama channel) but that specifically left a bad taste in my mouth I wanted to get out. Again, if there are any mistakes I will be calling them out in the edit.

One Piece means a lot to me. I've been following it since I was a tween, and it was the first series I read without my parents' permission (oddly enough, my very conservative mother also though the women were too sexualized... on episode 92, before it got so much worse) because I loved it so much. And even now as an adult I find it an old reliable that makes me happy. I try not to be blind to its flaws; I can see the sexism for female characters and character design, the way Oda writes gay people has improved but isn't perfect, and his examination of racism is hampered by not having stories to draw from about it. But it's a long, wonderful series that I can heartily recommend to anyone who enjoys adventures and themes of freedom, family and fun.

So This is Basically... is a series that always manages to make me laugh, even in episodes I dislike. I say "Sora, become a beekeeper!" to myself all the time, and the specific way Jello says "garbage" in the RWBY video sticks with me. But if you engage with the media he talks about you can see the cracks; it's the CinemaSins problem, disguising criticism as jokes and jokes as criticism, never taking a firm stand on either.

I hope both these series improve. I hope we look back on this video as a fluke rather than the standard. I'd like to continue to enjoy Jelloapocalypse in its purest form. But this whole thing has been uncomfortably revelatory to me, and I will keep my eyes open and my mind sharp.

EDIT: I finished watching Anthony Gramuglia's video on the subject. I don't 100% agree with his takes (in particular the speakers' disdain the humor, which I enjoy quite a bit) but he and his guests go into more analysis than I do, at times coming up with ideas I hadn't considered (as mentioned in my previous notes) and at times reaching a bit. I still think it's quality analysis on why Jello is a terrible reviewer in a number of key ways.

EDIT2: I did eventually get a look into what all happened with Lovely★Complex, but in the process I also found a video that more formally breaks down the flaws of Jello's arguments, even before his video was controversially-received. I'm including it here for anyone who only has 30 minutes for this kind of thing.

[seedlinggames]

Nobody needs another TTRPG taxonomy but I made one anyway

Posted here: https://seedlinggames.com/blogging/discourse/game_taxonomy_part_1_v_1.html I have a second blog post that is going to explain the small diagonal line, but basically it's that I think there is influence between those two camps that people don't seem to talk about much, probably due to internet discourse reasons

A million people have already done this - I'm kind of assuming you have vaguely absorbed the existing Internet discussions, and are familiar with terms like OSR, Story Games, etc. If you haven't, run away now and save yourself. But Six Cultures Of Play is probably a prerequisite to understand what I'm talking about, or at least what I'm complaining about.

I will try to, as much as possible, only discuss games that I have played. A lot of taxonomies seem to be written by someone who clearly likes one type of game a lot more than the others. For instance, I will not be discussing LARP because I don't have any relevant experience. I'm also not claiming that I am discussing the complete set of all games that exist, but I think I have played enough of them propose a taxonomy. If you're curious, I have an approximately complete list of games I've played or run here.

What is a TTRPG?

First we're going to have to look at everyone's other least favourite subject of conversation.

TTRPGs have 2 or more people taking on the following 3 roles:

A player, who is responsible for one or more characters who are the protagonists of the story.

A GM, who is responsible for the remainder of the story, such as providing additional characters and other aspects of the environment that the main players exist in. To do so they might determine the outcome of uncertain events or interpret rules agreed upon by the table.

An author, who provides additional, reusable material without being present. I'm using the term "author" for a lack of a better one, but it includes game books, blog posts, maps, drawings, or even fixed principles transmitted orally from game group to game group. These serve to facilitate or even replace GMing, as well as to introduce new ideas to the table without someone being physically present.

The same person often takes on different roles at different times, sometimes in the same game.

If you have only one of these roles, you are probably writing a book, doing improv, or some other activity. Which is of course totally fine.

This isn't the only definition you could come up with, but I think most people would agree it isn't totally wrong, and it's a lens that I'll be using to discuss the game taxonomy.

Maximalist Games

Apparently "maximalist" means something specific in art but I am not educated in such things and might be using the word wrong.

Characteristics of a maximalist game:

The three roles: clearly present and distinct, with the GM and author each taking on a large responsibility for the game experience.

Modularity: Semi-modular: There is a main game system which is designed to be extended by other modules, but these modules cannot be used with other games easily. A game book is typically not a self-contained experience and games are usually open-ended in duration.

Rules: A lengthy, complex ruleset with subsystems for resolving different parts of the game that are likely to come up, primarily oriented around the success or failure of an action and its consequences.

Characters: The complex game mechanics provide an opportunity for players to develop a distinct character before playing them, defined by game mechanics. Character and player motivations are usually aligned.

Narrative structure: Campaigns usually follow conventional narrative structure, but this is driven primarily by the GM, or by adventure modules, which define an outline of the narrative.

Who makes them: Often require more resources to create and thus are made by corporations, but that is changing.

Relationship to other media: While often inspired by fantasy novels, their larger budget and longer history has allowed some of them to develop their own genre conventions distinct from other media, and in some cases have inspired movies and books.

Solo games: Rare, due to the prominent role of the GM.

"Trad" games are a subset of these but a) I hate that word and b) I think the genre, starting especially with 4E and other inspired games, have gone in some very different directions. It roughly corresponds to "Fight D&D" in the Between Two Cairns taxonomy, but some games in this category involve no fighting at all.

Narrative Mechanics Games

The three roles: Blur the lines between GM and player more freely.

Modularity: Usually not very. Each game is made to create a specific experience, and the blurring of GM and player roles makes adding external content more complicated.

Rules: Focused on resolving problems in the context of narrative structures. Rules may facilitate pacing, allow for storytelling outside of linear time, allow players to temporarily take on a GM-like role, and allow for players to work together to create conflict between their characters.

Characters: Mechanics facilitate creating characters according to genre conventions with defined relationships to other characters and to NPCs. Player and character motivations are often not aligned.

Narrative structure: Rules are designed to support conventional narrative structures and genre conventions.

Who makes them: The focused scope of these games mean that they are often made by individuals rather than corporations, but there is a trend towards some of them being made by mid-sized organizations. Long development cycles may be needed to provide a polished experience, leading to some amount of professionalization.

Relationship to other media: Usually strongly inspired by other media, allowing you to create stories similar to movies, books, TV shows, etc.

Solo games: Rare, with Ironsworn as a notable exception.

Some "story games" fall into this, but I think "story games" has split into two meaningfully distinct categories. I've met enough people who only like one of the two categories. I think they are perceived as more similar than they are because there's less internet drama about the difference between them.

Prompt-based storytelling

The three roles: Blur the lines between the GM, player and author, with the GM often being absent.

Modularity: Usually self-contained experiences with limited modularity.

Rules: Often entirely forego mechanics for failure or success; mechanics tend to be minimal and about making suggestions regarding the story to tell, with the written text sometimes acting primarily as a GM or even player who is not present.

Characters: Character creation is usually a minor to nonexistent part of the game, with characters being defined by decisions made at the table. In some cases, all characters are already predefined. Characters are usually defined in words rather than numbers. Player and character motivations are rarely aligned.

Narrative structure: Stories often forego conventional narrative structures, and are focused around exploring relationships, ideas, or experiences. If a narrative structure is defined, it is usually in the form of a defined endpoint, with the purpose of the game being to explore how the characters get there.

Who makes them: Leans heavily towards DIY or single creators. Often comes in formats other than books.

Relationship to other media: Inspiration comes less from established genres and more from life experiences. Genre fiction is less likely to be an inspiration.

Solo games: Very common, due to the reduced role of the GM.

Adventure/exploration games

The three roles: Blur the lines between GM and author, both at the table and culturally.

Modularity: Are highly modular: not only are supplements and adventures often interchangeable, but are often not tied to specific systems.

Rules: Have relatively short rulesets focused on generating situations (on the GM side) and resolving danger (on the player side).

Characters: Characters are mostly created organically in play through interactions with the environment, including the tools at their disposal. Random generation is common. Character and player motivations are usually aligned.

Narrative structure: Campaigns often do not follow a typical narrative structure, aside from perhaps an escalation in danger, scope and/or strangeness.

Who makes them: Their modular nature means that they are often created in a DIY manner, through zines, blog posts, and informal discussions, though mid-size companies are also prevalent.

Relationship to other media: Inspiration from other media is often mostly vibes-based, with genre fiction, folklore, and even musical genres and political movements (for better or worse) being prominent. It doesn't seek to emulate the characters or narrative structure of other genres.

Solo games: Relatively common, usually provided by an additional module that may be specific and general-purpose, often focused on a GM emulator known as an "oracle."

"OSR" games are a subset of these, but a good number of these also make many OSR people very angry. It roughly corresponds to "Door D&D", but dungeon crawling is not inherent to this genre.

Other ways of looking at these categories

You could also map these on axes:

distinct GM/player/writer role vs combined roles: maximalist vs prompt-based at opposite ends of this spectrum

Highly self-contained vs highly modular: narrative vs adventure/exploration

Strong genre conventions vs naturalistic approach: maximalist/narrative vs adventure/exploration/prompt based

Resembles a D&D vs does not really resemble a D&D: maximalist/adventure/exploration vs narrative/prompt based

for symmetry I want to put another axis for maximalist/prompt based but I can't think of anything they have in common. Oh well.

But I also don't think this is a complete enumeration of all possible types of games either - this is some kind of n-dimensional space that has only 4 blobs on it

The part of the taxonomy blog post where you realize this is actually just me going on about my own preferences this entire time

I've played and enjoyed all 4 types of games, but putting this together has helped me figure something out - why it is that I like both the NSR side of OSR games and like the "super weird" story games. And why I don't seem to be the only one, even though these are often talked about as opposites. Because if you split story games into two genres, the similarities between prompt-based games and adventure/exploration games comes out.

[mixiury]

Character(s): Wanderer x GN Reader

Summary: Just him falling in love with you

A/N: Sorry for disappearing for two years, I actually forgot about this account XD. I had this on my drafts, so i thought of posting it while i cook something new. I also plan to come back to writing, so feel free to send me any requests :)

To live for centuries means to see people come and go, all of them different in small ways but overall the same when you see them in the big picture. As time goes by, everyone just becomes stains in the wall, amusing when they first appear, at least until the novelty turns boring and plain.

They are all going to be washed away by the time anyway. Why should he brother on finding out a meaning behind their existence if they never mean to stay?

That same mentality is one he has kept for many years, slowly losing interest in everyone who he crosses paths, only finding purpose in keeping around those who can be of use for him. But you? You are not useful at all. Actually, you are not even boring, like most of the other mortals he has met. No, you are straight annoying. Frustrating.

Frustrating your tone to speak; unable to hide his irritation every time he hears your voice, never afraid to say your thoughts aloud for others to listen and making it everyone's problem, echoing through the deepness of his mind as a haunting melody that he just can't seem to get rid of

Frustrating your sense of humor; the same one that makes him wonder if there is any braincells left inside that empty brain of yours, and the same one that causes so many pity laughs and smiles to those around you, wishing that he was the one hearing your jokes instead so he could tell you on the face how unfunny they are.

Frustrating your eyes; lighting up with enthusiasm everytime you talk about something you are passionate about. Blindly sharing that light and joy that only you are capable of creating with anyone interested, not even realizing how easily it can be extinguished if left within the reach of others.

Because it doesn't matter how many times he tries to come with a logical conclussion, Wanderer simply can't understand how someone so gullible and naive has survived until now; for everyone he knew who was fool enough to remain soft over the progression of time ended up murdered at the hands of the reality.

Everyone but you, apparently.

That's what he can't wrap his head around.

You, somehow, against all odds, have managed to stay true to yourself without letting others hands drown you and, at the same time, without falling into the cruelty of this world. Soft but steady. Sparkling but constant. Defying everything he knows and everything he believed to be an absolute truth, the puppet finds himself in an endless internal conflict over you.

You have took a shape and color in the wall of his life that he had yet to see.

It's stupid how complex humans can be. He could almost hear you laughing at him for not understanding somethingas basic as humanity. But you don't do it. You never do. And that makes it all more frustrating.

Unable to get the answers he search for, trying to guess your hand in this card game that you are not even aware you are playing. The different possibilities run through his mind as he attempts to figure out your next move, reading between the lines for any hints and hidden meanings.

Maybe it is all an act you are performing. Maybe there is more in the surface than he can see. Maybe you are hiding your true self behind a facede he has yet to uncover.

There has to be something. It must be.

However, all his conclusions quickly discarded the moment your hand lingers with his, just like a soft breeze in summer days, able of take away all his doubts with just one touch; strong enough to blew away each of the cards on the table, only for him to realize that there was never a winner in the first place, for it was never a competition but only a way to spend time with you.

And it's frustrating. It's frustrating how you can just tear down everything he took so many years to build; How all this time he spent analyzing your every move over and over was for nothing.

But somehow, now that he is in the other side of the conversation, listening to the same unfunny jokes he has heard before, instead of pointing out all their flaws as he once wished, everything on his mind is how he doesn't want you to ever stop speaking.

To think you are the only person able to shine like that. To make him feel like that.

[sluttymark]

I’ve had thoughts about Viltrumite Mark (the one without a mustache) being raised on Viltrum, coming to earth in Nolan’s place to assimilate into the planet and prepare it for Viltrum to colonize the place. Anyway, he starts reading/listening human stuff and is kinda surprised with how intelligent humans can be. He’s intrigued by this imperialism thing (it’s called something different in space so he doesn’t realize he’s effectively being de-radicalized) and like he gets into media that tackles it (so both historical and fiction, cause I’m obsessed with the last airbender, probably that show as the fiction). He also is intrigued by music cause Viltrum doesn’t have that and he likes listening to it. He likes lyrical stuff a lot more at first but when he meets reader (he’s a musician and does writing stuff, the kinda stuff Mark reads) he grows to appreciate instrumental songs or songs that lean kinda heavily on instrumentals (What kind of love by Donald Glover comes to mind personally) when reader kinda goes into depth about how more complex parts of instrumental songs work (“So sound swirls aren’t useless without words…?” “Grayson what the fuck are you talking about.”). Genuinely didn’t realize how much emotion can be carried in js instruments alone. Very perplexed by human societal problems that aren’t necessarily present on Viltrum. (“So what I’m gathering is humans have drawn arbitrary lines in the metaphorical sand based on appearance???” “Yea people that look like me and you can have problems in regards to fair resource distribution and other stuff” “You see Viltrum doesn’t have nonsense like this! We’d be able to fix all of this stuff for you guys.” “Ok. But what’s the difference between the arbitrary separation of people based on strength and the arbitrary separation of people based on race?”) I feel like reader would ask Mark those kinda questions and he would mull over them, start questioning what he previously believed, but still want to hold onto his “heritage”. Imperialist brainwashing is one hellava drug man. I might write something like this myself considering I have ideas! Sorry for typing so much lmao🌚.

oo! I actually love this so much! and you don't have to apologize, this fuels my brainrot for invincible sm,

anyways, I definitely love the idea of reader being a musician and viltrumite mark being intrigued by everything, as earth and what humans do plus their cultures, are very different from viltrumite culture, as stated; viltrumites usually explore planets to conquer or prepare planets for colonizing, and mark being sent out to earth and then suddenly going, "hey, this planet actually seems fun! these humans are smart" and yadada, I could also imagine viltrumite mark slowly getting or wanting to play instruments because of reader, basically influencing him.

I also could think of, musician reader being all surprised when he discovers mark isn't just an ordinary being, but an 'alien' (which in marks eyes, sounds a bit offensive lol, but hey, reader doesn't know that) and then suddenly thinking of a meme he found on the internet about that dancing frog (if you know this makes it even funnier) but readers chill about finding out mark isn't a normal human (I'd like to think reader would be very friendly and close with mark so he doesn't die when his 'people' conquer earth, basically those movies / smth)

PLUSSS, viltrumite mark trying out foods around the globe; because viltrumites digestion is so good, they can basically eat anything in other planets without no harm to them (if I'm correct) also, w/ viltrumite mark being somewhat prone to anger issues?? idk It just fits him, I mean, growing up in viltrum, people there are definitely top tier rage baiters (from what I understand, viltrumites egos are VERY high tbh) though, Mark can tolerate a few things! I'm not turning him into a big mindless and angry buff guy, but I do see the vision of him wanting to rip someone's head off whenever they get too annoying

Anyways, I'd look forward to reading your ideas! this seems such a fun idea for a fic :D + I love this! and thank you for sharing this with me ദ്ദി˙ ᴗ ˙ )

[amysubmits]

Is there any kind of... sub beginner classes anywhere? I think there should be at least a youtube series about it. There's such a fine line between "i'm submitting to this person" and "this is abuse papered over with BDSM language" and there should be classes to help new subs learn the difference before they're murdered

Kink classes do exist. There are sometimes conventions that will have a bunch of classes to choose from across a day or a weekend. I have never participated in our local BDSM community but I have heard that sometimes if you go to a local kink club they will sometimes host evenings where someone will teach on a certain subject, too. I think generally it's easier to find classes that are more about specific aspects of kink (like how to flog or a beginners shibari class) than lifestyle D/s stuff, but they do exist. Some people on here advocate really strongly that they feel in-person communities are significantly safer than online ones. On the other hand, I've also had a lot of people message me over the years telling me about how they were harmed by someone who was in good standing in their local community. Sometimes even how they reported a consent violation or other abuse with a community member to leaders within a community and that person was not kicked out or nothing else was done. Some claim they can basically be a 'good old boys club' kinda mentality, unfortunately. So as someone who doesn't have experience with a local community I've never really known what to believe, but my advice would just to be super cautious in ANY community, in person or not.

For those wanting to be educated but not wanting to do anything IRL, there are books about healthy D/s, podcasts, youtube channels, etc. Loving BDSM is a solid resource from what I understand. I personally felt like I learned a lot from Tumblr when we were new, though we were careful in picking and choosing which content to embrace and which ones to reject and not everyone may have the insight to know which posts are promoting healthy D/s vs which ones aren't, so that can be messy. I think educating yourself is great, but I think people who want to educate themselves can pretty easily dive in on their own, in most cases. And people who choose not to, are choosing not to. So I'm not sure that any sort of class or even series of classes or books could really guarantee to keep newbies safe, unfortunately. Sharing red flags so that newbies can recognize them is a great thing, and I try to do that when I see good info coming across my dash. At the same time, it's not uncommon for subs to share that they engaged with a person who they knew had one or even sveeral red flags and they ignored those red flags. They were so desperate to get to try out D/s or they wanted to cling to the good they saw in the person, or so many other reasons. And that doesn't make the abuse their fault, I am not blaming them, but it does mean that educating new subs about what dangerous "doms" look like isn't always enough, unfortunately. It's complex.

[blueskittlesart]

Question abt drawing: been trying to attempt learning how to draw forever but I always have trouble getting over the obstacle of having to learn/study things like anatomy and shading, which then causes me to stop drawing and have a harder time picking it back up. I know it's important for improving your art and yourself as an artist but I can't help but see it as tedious and overwhelming, especially the anatomy since it's more on the science side of things and science is not my thing lol. Do you have any advice on how to get over it or work thru it?

i think there's a couple facets to this question. firstly i'd recommend you consider what exactly your end goal is in learning how to draw: do you specifically want to be able to produce anatomically accurate figures and true-to-life shading, or do you just want to be able to make something for fun that looks good to you? one of the most helpful things I ever learned at art school was that accuracy doesn't matter if it looks good. 99% of my art isn't strictly anatomically accurate, and part of that is stylization, but even when i'm doing realistic figure drawings i like to lengthen limbs and exaggerate curves in order to make my drawings look better. So if your only real goal with art is to make something that looks good and enjoy the process, my first piece of advice would be to stop worrying so much about stuff like perfect accuracy! if you use references and keep pushing yourself, the skill and understanding you're looking for will come naturally with time. before I was ever classically trained, I got pretty far just by drawing my favorite characters in different poses and situations over and over again, and that experience laid the groundwork for when classical training did become available to me. Just because you're not necessarily doing serious figure studies doesn't mean you're not getting valuable practice--what it means is that you're having FUN while you're practicing, and having fun with your art is the most important thing!!!

Secondly, you mentioned anatomy being on the science side of things, which suggests to me that you may be looking in the wrong places when trying to do more serious anatomical study. if you look up 'anatomy' or anything similar on a web search engine, you're likely going to get a lot of very complex scientific illustrations. and while those aren't necessarily devoid of artistic value (I took a class all about scientific anatomy for artists last semester and it was GREAT) for a beginner who's just trying to learn how to make a body look like a body, they're not what you're looking for. what is going to be much more helpful for you are sites like line of action or quickposes. these sites are basically repositories of figure drawing images, and you can set them to automatically switch to a new image after a certain interval of time. if you really, desperately want to improve your anatomy specifically, what I recommend is going to one of these sites, setting it to the shortest interval possible, and trying to copy the pose as closely as you can before time is up. this might sound crazy, since the shortest interval is usually somewhere between 30-60 seconds, which obviously isn't enough to get much down. but what this will do is force you to look at how these models' bodies are constructed and translate it onto the page quickly and without overthinking it. be warned, your first maybe hundred of these are going to look like shit. but if you do this enough, you're eventually going to gain an intrinsic sense for 1. how a body works and 2. the easiest way for you personally to construct a body when drawing it. even without knowing the scientific names and anatomical rules, you're going to get a FEEL for how things work, which is much more important and useful to you as a character artist.

Finally, i think the most important thing to remember is that no art is bad art, even if you're not satisfied with the end product. when you're first starting out as an artist, you're going to make things that don't look right and you're going to be frustrated with yourself because of it. i vividly remember crying over a sketchbook at maybe age 11 or 12 because I was so upset i couldn't put exactly what was in my head on the page. Skill comes with time and practice and that is a frustrating fact of life, but no time spent doing something you enjoy and are passionate about is wasted. It might look bad now but you are laying the groundwork for your future success, and someday you're probably going to look back on your past work and say "I can't believe I thought this looked bad back then. for my age and my skill level i was doing AMAZING." And as previously mentioned, it's a lot less discouraging when something looks bad if you had fun making it, so try to have FUN with your art. draw things you enjoy and are passionate about and don't worry if it looks bad. focus on the experience, the skill will come in time. you've got this!!

[himblebo]

you have a lecture about Rebecca you say...👀

Not an ACTUAL lecture but a theoretical lecture I COULD give based on my work with the history and interpretation of domestic service and labor (western) in the 19th and early 20th centuries (and one that @jon-withnoh has more or less gotten from me incrementally, among other of my 19th century servant history rambles).

There are lots of different roles a servant might play that could functionally mean they “raised” a child, including but not limited to nanny, nursemaid, governess, ladies’ maid, mother’s helper, etc.

In a lot of places and situations, it wouldn’t have been unheard of for a child/teenager to be in a caregiving role for a charge around their same age or only slightly younger than them, depending on what that caregiving role involved and how much experience the employer required/sought. There’s also the whole concept of domestic labor being historically regarded as “unskilled labor,” as well as the evolution of child labor laws to contend with, but I don’t want to get too in the weeds—basically my conjecture is that since neither Rebecca’s nor Mrs. Danvers’ ages are ever explicitly given (to my knowledge), it is plausible (and my personal headcanon) that Mrs. Danvers could have been tasked with taking care of Rebecca quite young—a 10-12 year old could potentially have been put in service to a 5 year old, for example. Likely not her primary caregiver if they were THAT close in age, there would probably be another staff member giving more supervision and direction, but Danny being charged with: assisting Rebecca with waking, washing, dressing, chaperoning her around the estate, and then as time went on gradually taking on more responsibilities and becoming her ladies’ maid, to then developing that closeness and rapport that Rebecca would bring her along to Manderley and install her as housekeeper seems very possible to me.

I came to this line of thinking because while I’m all for a May December romance, there is an undeniable cast of moral ambiguity over Danny’s devotion to and implied romantic love for Rebecca if that relationship was developed between an adult caregiver and a child (the potential for grooming)—and while I understand that ambiguity as a part of what makes Mrs. Danvers such a complex character (and the specter of Rebecca by extension; unreliable narration and ambiguity and never knowing the object truth of her in her absence without her own voice is what truly creates the atmosphere of the novel and drives the plot), that ambiguity in terms of creating fanworks based around the two of them in a relationship sometimes feels a little icky, so I thought about 1) what we know and do not know about these characters and 2) what I know about domestic service, and arrived at: it’s perfectly possible that within the world of the novel they actually weren’t that far apart in age.

I don’t think it’s the most likely scenario; I think Daphne du Maurier most likely wrote them with a more significant age difference in mind, but ultimately: she left us with many unknowns, and her ghost can’t stop me from playing with them as much as I like.

I think Danny as significantly older than Rebecca is a very valid reading of how she is written, and there is equally as much to be explored within that dynamic—it just sometimes makes me uneasy (as someone who was groomed by a caregiver), so I found a way to rationalize within the unknowns and enjoy DanBecca smut without feeling weird about it in the back of my mind.

[system-of-a-feather]

Honestly, real talk, I feel like people largely do not understand just how much characters within those who are maladaptive daydreamers and/or were maladaptive daydreamers literally are "parts of them" and how both healing and destructive that dynamic can be and I find that a bit visible with how people in DID communities talk about maladaptive daydreaming as a "form of plurality"

Its an absolutely different experience but that doesn't mean that the label of "plural" isn't equally suitable. Since that topic has come up on our radar like way back half a year or year ago, we honestly have been thinking about it as someone who is considered "recovered" from DID and has recovered from maladaptive daydreaming but still has a brain that functions creativity and imaginative worlds with the same semi-autonomous functions whether I like it or not

And honestly? My characters are very much not "my creation", nor are they "just my OCs" - the very way all of my character are made and at this point the only way I know how to write and make characters is by taking a part or aspect of myself (conscious or subconscious) and throwing it out there with a name and face. That part of myself engages with the world I created and develops within the narrative and impacts the world itself.

I repeat and do this for all my characters and the world that I have created serves as a hypothetical exploratory way to understand, engage with, and explore very complex topics with exaggerated and isolated parts of myself. I have never really "planned" a character of given them traits or really anything other than a basic premise of a name, MAYBE a gender, and a vague role and I let them define their own story. No real character arc planning. No real likes and dislikes. No real narrative or secret message.

The function and means of which that I "created" these OCs and the level of which I don't control the way they form and grow is extremely similar to how I "create" alters, albeit one is far more voluntary and intentional than the other and one is physically sharing my life with me and the other is sharing a mental world with me.

((Additionally I don't engage in the mental world I made for them beyond the half joke that I'm the god of the gods of that world and they dont know))

The dynamics I have with my characters is WAY WAY WAY different than my parts / alters but BOTH my characters (maladaptive daydreaming) and my alters (DID) are equally fair to call "parts of me" and "parts of a whole" in a very literal not "Oh yeah Im a writer and this character means a lot to me theyre a part of me"

With my writing partner (who does this as well) we regularly use our characters as well to explain what we are going through / how we are feeling to help facilitate real talk and venting a lot because we have a mutual understanding that while this is a story and these are our characters, both of us have "built" this world by literally giving very specific aspects of ourselves the ability to explore, grow, and learn in a world and that while some have grown SO far from who we are now, they represent an aspect and potential part of us that could have been should something have gone one way in a specifically extreme way in a specific environment.

With that in mind, I absolutely feel its fair to compare DID and MaDD "plurality" with some obvious understanding that while there are similarities they are also different (AND THATS OK).

Cause honestly? If I actually talked to my characters (like a lot of people with MaDD tend to do) I could see myself calling and feeling as though they were a system and I don't think it would be all that inaccurate and wrong. I don't have that experience as my MADD and DID are mostly entirely two seperate dissociative coping mechanisms, but I know for a fact the line between the two is a lot less clear and its just food for thought

-----------------

[SYSCOURSE AND DEBATE WILL BE BLOCKED.]

[Good faith conversation and discussion is WELCOMED and ENCOURAGED.]

[If you don't know the difference, don't add on.]

[insignificant457]

Pierce Brown Light Bringer Q&A

I went to pierces book signing tonight and I will attempt to regurgitate everything I can remember since I didn’t take notes

When asked if there’s any characters he regrets killing off, he said Trigg. But he also said he has a different answer every time someone asks that

He talked about how he writes two different types of deaths—deaths that feel like the end of an arc, and deaths that feel like they cut off in the middle. He said the latter are more like life, and that’s why they hurt more, and why he’s more likely to regret killing them. Trigg is one of these, as is Fitchner

Speaking of Trigg, his aborted arc factored into the decision to add ephraim as a pov character—it allowed him to explore Trigg and his backstory even after he was gone

The other povs in iron gold were specifically chosen because each had a bone to pick with Darrow, and also because he wanted a high, mid, and low color pov

He was complimented multiple times on how he writes female characters, and his response basically boiled down to “I subscribe to the radical idea that women are people”. He said it’s funny that no one ever compliments him on his ability to write complex male characters

Related to the above, both victra and Aja were originally conceived as male characters, but he couldn’t quite make them work until he flipped the gender. He said that after making victra a woman, he immediately knew exactly who she was and she became incredibly easy to write

Speaking of victra (she got a lot of love, as she deserves), someone asked for a random fact about her, and he said she plays Karachi, which is a gambling game, but she doesn’t want anyone to know because she doesn’t want people to think she’s reckless. Everyone knows.

When asked how he feels about Lysander, pierce said “he’s doing his job,” both in universe and as a vehicle for the story. He also said this was always the path he’d imagined for Lysander

Some of his favorite lines are “do not fear for me, pity them” and “worthy”

He called Darrow a drama queen, and said that he often talks out loud while writing, and darrows internal monologues get weird reactions from friends who overhear (“who’s the motherfucking consequence?!?”)

Darrows experience in light bringer (in particular his reading of the path to the vale) was very much inspired by pierces own struggle trying to write light bringer. He said they both had to learn that the right path is not always forward, sometimes you have to go back

Light bringer was by far the hardest book for him to write (he said “if you ever want to know what the hardest book for an author to write was, just look at how long it took to do it) but he said it’s also possibly his favorite

When asked if any characters or relationships surprised him, he said yes absolutely. Sevro was apparently supposed to be a tertiary character, but basically hopped off the page, and victra was another surprise. He also said (light bringer spoilers) the relationship between Cassius and Lyria was also a huge surprise, but he realized on writing their first interaction that they would absolutely love each other

He also said that the snark between Darrow Cassius and sevro just flowed really easily, and that Darrow and Cassius understand each other, but that Cassius simply Does Not Get sevro

When asked about bringing the jackal back as a clone, he said it was an effort to explore cloning in a way that, in his opinion, has not been done particularly well in many other media. He also said it came about because there was more to explore with virginias relationship with her brother

Tongueless was a hat of death kill, but he told us the original backstory he had planned for him. Apparently tongueless was a high up leader of the syndicate, who was deposed by Lilath when she came in and instigated a coup

He said he tries to write using “South Park writing rules”, meaning instead of saying x and y and z happen, he always uses x happens but y happens or y happens therefore z happens. He said this helps keep things from feeling predictable or trite

When asked what he hopes people take away from the series, he said he doesn’t want to say, because he fears that would be showing his hand for red god. But he did say that what he hopes people take away from light bringer is the same thing darrow tells sevro in morning star “we keep looking for the light, but we’re it”

And lastly, in the signing line, I asked him when sevro found out his father was ares, and he told me it was “probably around the same time darrow found out”, and said a lot of that is because sevro had spent a long time hating his father, because he could always sense he was being shut out. He mentioned that children can tell when there are walls there, and it can actually have a very damaging impact on their mental stability (mental instability? I said. sevro? Never.) anyway rip to my sevro joined the sons pre series theory, you will be missed, but it’s nice to have an answer thanks Pierce

Anyway it was a very fun time, if I remember more later I will add it

[loves1ckgirl]

Denki Kaminari with an online best friend

Denki x American! reader

Online friends + maybe romantic-ish

Note, I have no idea how to write in the grammar of someone learning English so I’m just avoiding contractions and using a bit of chat gtp to make the sentence to be a little more incorrect lol.

He initially met you while playing a FPS at 3am

The game between you and both was mostly silent aside from some English and Japanese cursing, Denki understood some what you said

You however; did not understand him, but assumed he was expressing the same frustration and wasn’t just getting upset at you

After your first game was played, he had sent you a few emojis and a little english

The game you had been playing along side some random from Japan had gone surprisingly well. It was such a bad game for the loser you wondered if it was because they were absolute garbage or all of a sudden you became a gaming god. As you leaned back in your chair and attempted to fix the knot that formed in your back from hunching, you looked back at your computer screen. There you see a friend and message request.

Kaminarieki

“You are good at playing. Can we play more?”

As you read the message, you decide to respond and pray he wasn’t some 30 year old incel. After all, you were bored, and a bit lonely.

After that first interaction, you would go on to play with him often

However, neither of you talked very often especially after you came to the conclusion you didn’t speak the same language

In the end, there were still some short convos

Kaminari liked these, as he thought you were cool

The fact that UA English classes were more rigorous helped him in talking to you (a hero needed to communicate with a large variety of people)

A couple of months in, he was struggling with his classes exponentially, and no amount of help by his friends would help him,

He then thought it was a good idea to message you and explain that he thought it would be nice to talk and learn through a fluent speaker instead

Kaminarieki

“Can we talk a lot I am learning English I think your cool.”

“I’m down. It’s late now though. I have school is tomorrow okay? Also, the your should be you’re”

Kaminari sends a cute little heart emoji,

“Yes. Thank you.”

For awhile, you’d avoid many abbreviations and some complex Slang

Eventually Kaminari had gotten more advanced and you spoke more casually

After exchanging Instagram and other accounts, instead of mostly talking as you guys played, it started during school and random times of day

The time difference didn’t mean much since the both of you had terrible sleep schedules

(Although, he was a bit more regular due to his hero school)

As you talked to him you obviously found more of his personality and it had become more endearing tbh

He’d most definitely google English pick up lines

Eventually as his friends noticed his behavior and how if he’d planned to play with you he’d decline

Also how he’d be texting more than before (mostly on his Sundays and Monday’s as you’d be awake the longest when he was.)

Lowkey hates the time difference tbh.

Anyway, as his friends noticed him typing away on those two days in particular they’d begun to ask questions about who he was texting

“My friend.” He’d say, looking up from the phone for a second before continuing the text. Mina had begun even more curious than previously.

“Whaaa? Friend? Who?” She asks, leaning over the couch and Kaminari’s shoulder. She sees joke flirty messages that he sends and receives.

He ended up telling them about you and explains that’s why his English grade was getting better

Anywayyy he’s overall super cute with you

Basically just being himself

If you ever wanted to learn Japanese he’d 100% do his best to help you enthusiastically

He tries his best to keep you updated since it’s its hard to talk to you regularly

[beanghostprincess]

What are you most controversial/unpopular OP opinions??? Sorry if it was answered before

You want me to get canceled so bad-- If I speak-- But idk, I guess I'll say the controversial opinions I can say publicly without a bunch of people coming at me!

Zo$an is a bit... Overrated? And by overrated I mean extremely/annoyingly overrated. I like the ship and its canon dynamic but I think at least 80% of the fandom portrays them in a very mischaracterized way. Not to say that... The ship is literally everywhere and the shippers always look for every little thing to prove they're canon, even if the "proof" has literally nothing to do with them. It's not that I don't enjoy the ship (although I must admit I prefer other dynamics a lot more) I just can't stand shippers that go to extremes. It's funny because I think Zo$an's dynamic is way more interesting and romantic in canon than it will ever be in the fandom. It's a bit sad, ngl. I liked them a lot at first but it got so tiring and now I am pretty exhausted from seeing it everywhere. The people force it to be more than it is when the canon is already pretty fucking great.

Adding to the Zo$san thing. I think that relationship would only work if Luffy is there somehow but it wouldn't last a day without him in the relationship. Unless there's like, a ton of character development most of these people don't make them go through.

One Piece Film Z is my worst enemy. It's such a boring movie. The only good thing is the soundtrack and maybe the suits but God watching that was torture.

Boa hate is uhhhh weird. I mean, I get why the joke about her being in love with Luffy might be annoying, but I think most of you need to learn to understand that Oda's sense of humor is sometimes a bit too exaggerated (and not funny) and it has basically nothing to do with the actual canon dynamics between characters. Boa likes Luffy because he's one of the first men who has ever treated her right, so of course she confuses that feeling with love. And of course, yeah, it isn't canon. Whatever. Just read between the lines, maybe? And also, stop using words like "pedo" to describe her because using that term so lightly about 1) a fictional character and 2) somebody who's clearly not a pedo is fucked up. Lmao. Do you even know what that word means???

Once again complaining about Pudding hate and saying that it's stupid. I won't overanalyze because I always do it with her, but the only reason people hate her is for misogynistic reasons and because they're babying Sanji. Evil male characters are okay and hot and very traumatized but the second it's a woman she's the most evilest person ever! Because God forbid they make mistakes! Suddenly their character development isn't valid because they hurt their babygirl!

Now that we're talking about my dearest Pudding. Not tagging anybody of course, but I saw this post with so many interactions of people agreeing about Sanji considering violence as a sign of love which??? Doesn't make sense at all?? OP said it was because he couldn't tell the difference between love/abuse because of his family, but that's just... Not accurate. That could only happen if they had manipulated him into thinking abuse is a type of love, but he had healthy love growing up. Even when he was with the Vinsmokes (Sora and Reiju, I love you). And yet OP said Sanji considered Pudding's behavior flirting (wrong) and that's why he let her attack him (nope) and that it was proof of Zo$an. And okay, it's not a hugely popular theory, but a lot of people agreed with it and it bothered me a lot because it's both out of character and also using Pudding (complex female character) once again to try and prove the canon of a ship (that doesn't have anything to do with WCI either???). It just bothers me. People can perceive the story however they want but... Y'know.

OPLA isn't that good. Or good at all? I only like it because I like the cast and it's funny seeing my blorbos irl. But the script is simple and dull and just stupid most of the time. The characters are either simplified, mischaracterized, or forgotten. And tbh most of the shots are very awful and could be a lot better. The directing is also nonexistent. It's 6/10 and 3 of those points are because both the Zolu and the cast.

Apparently this is a very common theory about Nami's origins, but, uh, I don't think we need to know? What else do you need to know about her? People say she's a lost princess or something like that as if we didn't have a lost princess already (Sanji ily). Repeating the same plot would be boring and underwhelming, but also? It'd be extremely useless for the plot and it'd go against everything about Nami's story and the way Luffy reacts to it.

Luffy isn't canon aroace. In fact, the reasoning people use for him being "coded" is the same Oda uses for Zoro too and Zoro is almost never portrayed as the "idiot who doesn't know what sex is" the way Luffy often is. If you're calling Luffy canon aroace for what Oda said about him being focused on adventures, the same goes for Zoro being focused on his dream. They could be coded arospec but there's nothing confirmed and the constant discourse about it is stupid. Attacking others because of their ships just because you don't agree with them and saying it's wrong using our identity to do it is very fucked up. Especially since most of the time people complaining aren't even aroace. The only reason people do it (attacking others saying they can't ship Luffy and that it's "weird" and "wrong") is that they infantilize Luffy/Don't want him getting in between their ships (<- aroace person writing this) (also, it's very ableist since people agree on Luffy also being neurodivergent coded and treating him like a kid bc of that but this isn't about that now).

Somehow this is very common. Some fucking how. I can't believe I have to say this. I'm tired of people blaming Usopp for what happened in Water 7. Or in general hating Usopp. Actually, he's one of the best-written characters in the whole show and he's so underappreciated it's so frustrating.

Sanji's perv jokes are annoying af and we all know that, but people who hate the character and consider him a red flag for that are missing the point completely. The point being "Oda exaggerates jokes to an annoying extent and most of the time they don't even reflect the character". I understand they can make you uncomfortable (same here tbh) but reducing Sanji to only those jokes is a waste of his character. You need to take jokes less seriously.

If I see one of these "red flag OP boys" TikToks adding Law/Ace/Zoro/Sanji next to fucking Doffy I will riot. Also, stop adding Crocodile there. He's a mafioso, there's NO way he won't be a sweetheart to his lover.

Baron Omatsuri's artstyle and animation is amazing and it fits the plot and aesthetic of the movie perfectly and people saying it's ugly will forever bother me.

"Usopp is suddenly hot after timeskip!" He has always been hot what the fuck are you talking about.

People reduce Nami to her "mean"/"sarcastic" personality a lot when she's quite literally one of the most kind-hearted characters of all. That being said, morally speaking she's probably one of the worst. I could explain how that works but I don't want to do it now, the point is-- Let the girl be sweet instead of making her mean all the time. And also, let her be mean and selfish without making it her entire personality. There's something called "balance".

Film Red was kind of bad. Like, the songs are amazing (thanks, Ado) but the ending is awful and the plot is very meh. I'm only here for Uta and Shanks but the rest of the characters are just useless. I do appreciate Sanji's hair in the movie, though.

[angeart]

can u feed us some hybrid au 🤲

always!! (brb running around in circles, bouncing off the walls etc, excited)

i wish i knew if you want mimic stuff or general hhau (i certainly have both) (reminds me i should go and compile more mimic arc rambles. the next part is the aftermath!! it's been a hectic couple of days sorry kxcjbn)

you can consider this a bonus to the hhau mimic arc rambles part I, as I skipped this bit thinking maybe i'll make a mini post about it later. this is about the mimic learning there are places that aren't as horrible as this world. and that grian and scar are so different, because they're from elsewhere. (~1k words long, below the cut <3)

so here's the thing. the mimic gets attached to scar for various reasons. desperation, safety, right? but it's the kindness. it's the kindness that seals the deal.

touch-starved and never once in his life treated truly kindly, like he matters, the mimic keeps to scar like a lost puppy, trying to understand this. trying to wrangle with this feeling of being treated well? like an actual person that has needs and feelings. it's so wild to him. so strange. it hurts a little bit, but in a good way. in a way that leaves him craving more. (in a way where he doesn't think he can survive without it anymore.)

and it's so hard, and it's so skewed, because scar is threading a fine line of, basically, how to treat the mimic nicely versus trying to not hurt grian too much. since the mimic looks like grian and grian already feels lesser, like a burden, etc. like he could be replaced. like maybe one day the line blurs a bit too much—

and grian doesn't want to be mean to the mimic, either. he's just a hybrid in distress, trying to stay safe by any means necessary. grian recognises that, even though he hates these particular means. it's so hard, to see the mimic constantly around. to have him near not only himself, but near scar. to watch scar be attentive and gentle towards this look-alike.

but, just to be clear, grian isn't treating the mimic badly. he's just distant, and they have more ravines between them than any attempts at bridges. (there's this mix of really complex emotions, in all three of them, that are incredibly hard to navigate.)

anyway, that all being said.

one day, the mimic asks grian. scar is close by, but out of earshot, and the mimic is struggling wtih his feelings and comprehending who scar is and why he acts the way he does. so he asks, quietly. "how does he do that?"

grian is slow to speak to him. still uncomfortable. "do what?"

the mimic watches scar, kind of mesmerised, but there's an edge of confused trouble to his expression. "stay so kind."

and, you know. maybe grian's first thought is that this is about scar being a vex? vexes are meant to be scary and dangerous, after all. but no, no, actually, that's not it.

it's just that nothing in this world is kind.

something about grian and scar being from elsewhere. a much kinder place.

something about them never learning how to be selfish and cruel.

something about them never having to fight for survival like this.

maybe grian tells him then. that they came from somewhere peaceful and kind and silly. that the meanest things that could happen were pranks that were laughed off and cleaned up and made up for, never meant to be malicious. that it didn't matter who is what kind of hybrid. they were all free to do their own things and interact and wander, build and laugh and live, unafraid. (oh how that word now wobbles on grian's lips—)

he tells the mimic that him and scar knew each other before. that they come from the same place.

grian talks quietly, and there's such a stab of aching nostalgia in each of his words. (he can barely say these things.) (the memories of hermitcraft are painful; he doesn't know what happened to his home and to all of his friends. he doesn't think him and scar will ever get any of it back, and it's scary, and it's paralysing.) (but it also feels like warmth, to think about all of that—about him and scar somewhere less complicated, less cruel. a place that doesn't hurt.)

the mimic listens, bewildered, curious, horribly envious. he can't comprehend a world like that, but he can tell this isn't a made up story, an escapism fantasy or what not. he can tell that this is real and true and scar and grian aren't meant to be here, it explains so much about them, actually.

this isn't what the mimic expected of them, originally. based on previous encounters with hybrids. based on their wanted posters. he thought— he thought there's an avian with beautiful feathers (they don't look so beautiful from up close, broken and messed up and muddied), feral and unafraid with a vicious vex guard by his side.

and instead—

instead it's this broken pair, clinging to each other for kindness and life.

(how he wants to be a part of that.) (how he wants to also cling to kindness and life.) (how he wants to also burrow his way to a sliver of hope that existing can be more than just terror and frantic, exhausting survival.)

---

grian burrows extra close to scar that night and cries while scar holds him. talking about their home—about hermitcraft, about their friends—takes a toll on his psyche. and he finds the safest place to break down. (he finds scar. scar's arms are the safest place.)

scar doesn't question it. he wraps his arms around him and kisses his hair, happy to provide all the soothing affection he can.

and the mimic's heart hurts, because he'll never get to know what that feels like. to be safely burrowed in someone's arms. to be allowed to be weak and fall apart. to be so irrevocably cherished. (to be loved.)

---

and if the mimic ever asks them if they think they'll ever get to go back home? (an uneasy question, as it makes him think of being left alone in this hopeless, dreary world)

well— scar and grian both just go silent. (it's a too heavy question. destabilising. horribly painful.) (it's too much to admit they don't really hold hope. not anymore. not after all this time.) (the only thing they have left of their home is each other, and they'll fight this world tooth and nail to keep that.)

[inkandfangirl]

I've been writing for quite a while, and I have used a lot of website for that, so I wanted to share them. Here's my list of recommended websites for writers or aspiring writers:

Fantasy Name Generator - This website is actually pretty well-known, but not many people realise it's really helpful even if you're not writing fantasy. It has a lot of categories, going from actual names to place names to fantasy names. It even has a lot of pop-culture name generators, really helpful if you're searching for a name for an OC. It has also expanded to other generators, such as language generator, map creator, or calendar creator.

Family Echo - A website to create family trees, great if you're building family lore or a line of succession for a royal fantasy. You can add different names, titles, marriages, and it even includes a biography category for different people/characters, so that you can keep your notes together.

WriteControl - A website for writing and plotting. Once you create a book, you can keep everything in it. It has character sheets, a plot outliner, and even its own dictionary if you're searching for a word. The writing part is also really good and helped me concentrate a lot. You can also set a lot of goals, such as how many words you want to write each month or how much time you want to spend writing each day. A major negative point is that it uses AI, and a lot of really cool features are actually only accessible with a premium subscription. The free version is still really good, though.

Inkarnate - A website many might know if they write fantasy, to create your own maps, from a whole continent to a city. It has many good features and is pretty easy to understand.

Character Hub - Even if it is made primarily for OCs, this website is actually really good for developing characters for your story. You can build multiple character sheets, with customizable categories like personal information or physical description, and you can link the characters you build. If you want, you can also share with the community your characters or OCs.

Daily Prompt - This one is actually really good. You can find writing prompts posted by the community if you lack inspiration, and share your stories and even poems. But the best part is the Plot Builder. You type a summary of your story (between 50 and 200 words), and it generates questions about the plot, setting, and characters. If you click on one of the questions, it opens a page on the website to develop a paragraph or a scene.

First Draft Pro - Once again, a website for writing and plotting, but I also find it really good, and you have the option to divide your chapters into scenes in it. You can also set goals of words written per day. Negative point is that it uses AI, but it is avoidable. There is also a premium version, but the free version works really well.

Behind The Name - Basically a dictionary for names. You can either search the origin of a specific name or search among the cultures for a name. It gives you the origin and use of a name, as well as where it is more frequent geographically and which famous people had it.

Azgaar's Fantasy Map Generator - A much more complex website for building maps, but really complete. It generates a map that you can easily modify with a lot of factors. You can also import a map (though it is really hard to find, I admit). I discovered it recently, but it is really helpful for building countries. It is a bit hard to understand and use, but once you wrap your mind around it, it's super helpful.

Power Thesaurus - A hidden gem. You type a word in, and it gives you synonyms. Very needed when you said "also" or "then" ten times in two paragraphs.

OneLook Thesaurus - Searching for a more specific word that you can't find? Type something in this website, like "walk fast", and it will give you a list of words, the first being the one with the closest meaning to what you typed. Really good when you're losing your mind searching for a word that just isn't coming.

I hope I helped you find a website you were searching for! Don't hesitate to share other websites too!

[stellagibs0ns]

Did Bedelia fo to Florence with Hannibal willingly? Why do you think she went with him?

there are a handful of different versions of how it went down it my head depending on whether i’m writing something or just spinning ideas. so let me jump into this!

first of all is what i think canonically happened! i believe that bedelia adjusts to her situation by going with what benefits her the most. she is very quietly opportunistic. at that moment in time, it was within her best interests to go with hannibal. yes she had a gun on him, but realistically that would not make a difference. she’s like 5’3 and bird boned and he is a UNIT. but that is besides the point.

i think a lot of bedelia’s Thing with hannibal is that she is indebted to him. at the most basic level, she killed a patient and he helped her get away with it. she knows what he is and what he’s capable of, and it would be indecorous and generally dangerous for her to say no to him. that’s why she continued to treat him as well as leave for italy with him. she is simply not in a position to say no to him, because too much is on the line. her life included.

that being said! i think a part of her enjoyed it. living a life of luxury and playing house with him. gillian said that there’s a certain degree of arousal in all of her feelings, and i think that’s absolutely true. so, while she only went to italy for her own safety and with the intentions of repaying a debt, i think a very hidden part of her enjoyed it.

second theory that i tend to lean on more when writing is simply that she’s infatuated by him. they have an extensive history that sadly wasn’t explored in the show. in this instance, i don’t believe she went with him because she was in love with him in the romantic sense, but in the sense they are two similar people with a history and a bond. that comes before romance for her. and i think there’s a very deep understanding between the two of them, and leaving for italy would give them the space to hone that. and obviously dip into romantic territory. we know verrrrry little about bedelia’s personal and social life, but i think it’s fair to say that the connection she has with hannibal is one of the most important in her life.

going with him to italy would be a way of honouring that connection. he trusted her enough to go to her for help, and in this scenario, she cares too much to turn him down. their history is too complex. plus, she doesn’t want to lose him entirely. being there with him means she can keep him in check (because really she’s one of the few people who CAN do that). he put his trust in her and he needed her around and she felt it was her duty to be there for him

these are two very messy ideas based on what i consider canon vs my alternative theory and i probably could’ve worded it better. but it’s 2am and if i think too much about them my brain will probably just explode.

thank u for the ask though 🥰