#It's like. *related* to a main character's plot arc

[loxare]

On their wedding day, he put his hand to her cheek and called her the most beautiful woman in the world.

He could have been correct, from an objective standpoint. Truly, she was one of the beauties in town. Her curls always in perfect order, her smile plump and joyous, her figure comely, even hidden modestly beneath clothing. From an objective standpoint, he was wrong, as nothing about beauty is objective, but none in the town would have disagreed with his assessment.

They spent several years together, in loving bliss. They built their house together, they planted their garden together, they grew together.

And then came the day that a hole in reality opened beneath him. Without thought, she jumped in after, a bare half second after he vanished.

When she opened her eyes, she was somewhere else. The stars were different, and wrong. There was the wrong number of moons, and the sun was the wrong colour. But the worst, most egregious wrong was that he was not there next to her. This, she could not abide.

She had nothing to her name besides her labour, but that she had in abundance. She travelled, from town to town, trading hours of work for food and board. She taught herself to draw, and she drew her love. Over and over, she drew him. In the dirt, on walls, on her own clothes. Asking, always asking, if any had seen him. Eventually she acquired paper and ink, and drew her husband again. Her inquiries became easier, more frequent, although the answers never changed. For none had seen her love.

She learned many things as she travelled. She learned how to fix a carriage wheel. How to tend to livestock and how to weed a garden far larger than the one she had known. She learned to shape a bowl from clay and to chop timber and to carve wood. She learned to fight off brigands who would take from her her sparse money, her life, or worse.

She learned other things, about this place she was in. It was a place where many came, and few left. A nexus one called it. A refuse heap, another said. But the method of arrival was always the same. One moment in the familiar, the next falling into the strange. But the people were the same, for all that they were often of alien appearance. Some looked down upon her dirt covered hems and worn boots. Some ignored her. Most were willing to at least listen to her question, to look at her picture, so carefully drawn. To keep an eye out, and pass on a message should they find him.

Time passed, and passed, and passed. The world she came from did not have things such as magical crystals or soul mates or wizards, or if it did they had none of the power that those here did. Regardless, one town she stayed in recommended she find the local witch, for they specialized in red strings of fate.

And so she did. The witch gave her a bowl of stew and a comfortable chair, and then listened when she spoke, and looked carefully at the drawing. It was a different one. She had drawn many, over the years, as the old ones wore out, and as her skill increased. And the witch said that they did not know if he was indeed her soul mate, but if he was, then the red string of fate that they revealed would lead her right to him. She need only follow it.

It was not an easy ask. The witch wanted a blanket woven by her own hands in payment. And so she stayed in the town, longer than she had stayed anywhere. She traded her labour and her art for thick wool, and weaving lessons. It was near winter before she had a result she was pleased with, carefully folded in her arms to be presented to the witch. The blanket was unfolded immediately upon delivery, shaken out to its fullest extent. The blanket was scrutinized, for quality of the weave or for something else that she could not fathom. Finally, the witch nodded their head. They turned back to their cottage, moving to close the door. She protested, concerned about her end of the bargain, but needn’t have worried. For around her finger was tied a red string which hadn’t been there before. The end led off, through the woods.

And so she followed it. She followed it through fallen leaves. She followed it across rivers. She followed it through snowbanks and through melt waters and through hot summer sun. Finally, she followed it into a clearing on a mountain. And fell to her knees in despair. For in this clearing was nothing but moss, and the end of the string, fading into nothing.

She did not have long to weep however, as a hole in reality opened above her, and down he fell. Without thought, she moved to catch him.

He was just as he had been on the day she had left him. And as he opened his eyes, she suddenly felt ashamed. For he was here, perfect and whole and young. But it had been years and years for her. Her hair was frizzy and knotted. Her lips were thin, her hands were rough, and her figure both hard and flabby at once.

But he opened his eyes, and he called her name, and she nodded. And he smiled at her, and called her the most beautiful woman in the world.

On a truly objective standpoint, he was incorrect. Both because beauty was not within the realm of objectivity, but also because there were many women who could be called more beautiful, subjectively.

But she also knew that he was speaking nothing but the honest truth. For he loved her. He loved her, he loved her, he loved her. He loved her hair, frizzy as it was. He loved combing it free of knots, and helping her braid it in the mornings, and loved tucking flowers into it, to surprise her when she looked in the mirror. He loved her smile, and loved seeing it, and loved being the cause of it. He loved it when she spoke to him, when she told him of the things she had done, and what she had learned. He loved her art, even as he blushed darkly at being her only subject. She taught him what she knew, and delighted when he found particular pleasure in pottery. They travelled, to find a home that suited both of them. The first time she defended him from brigands had been a terrifying and yet exhilarating experience for them both.

And they built a house. With a room full of paper and clay. And a garden, and a loom. And always, forever, she was the most beautiful woman in the world.

[skrunksthatwunk]

thinking about how the primary way sensui and yusuke are foils to each other is in how they were affected by and conceptualize injustice in the arc about whether or not humanity is worth saving due to the injustice and atrocities done by humanity. how yusuke got to see how people distort and demonize those they don't understand/see as different by being on the receiving end and learning that there's always another side to consider. how sensui never questioned humanity's universal good and demonkind's universal wickedness until he saw something awful and instead of gaining further nuance about the dynamic switched sides. sensui was white stained black (or so itsuki says) and yusuke was always, always gray and on the margin. how sensui had the chance to see what yusuke has known for years and is unable to shake his ideas about the world's basic structure (good guys vs bad guys) that he just swaps which side is which. yusuke who met demons he liked after only a couple of experiences with ones who only wanted to hurt others. yusuke who trusts hiei easily, a kindness hiei doesn't expect. hiei who does not trust humans, but begins to change because of that moment. sensui who only met a demon he saw as worthy of life after years of fending them off, after years of exterminating them without mercy. sensui to whom itsuki was "one of the good ones" vs yusuke who trusted hiei with little reason, who sacrificed himself for kurama moments after hearing him out. yusuke who can't help but let in strays because he's one too. sensui who takes in strays because they can help his genocidal aims. sensui who purges, and yusuke who saves.

[waywardsalt]

:3

[devotedlystrangewizard]

ok ok so the thing with destiny 2 is how inaccessible it is to new/returning players. we all know this. im perfectly fine with paying 10, even 15 euros every three months for a game that i enjoy. ffxiv is one of my favorite games right now. im used to paying far more. i dont mind messy storytelling. i think it can be fun.

my problem is entirely that because i stopped paying attention somewhere between beyond light and witch queen, there is no longer any way for me to catch up in the game itself. i got burnt out on destiny. i stepped away for almost the entirety of the witch queen - lightfall period. and now i can no longer get back into it. and thats not because im no longer interested in it. i still adore the lore and characters in destiny. but i dont want to have to watch videos on youtube to get a vague understanding of the plot?

and i get it. okay. the game is bloated. the last time i looked the destiny 2 file size (including all dlc) was around 100gb. but fuck if it isnt frustrating that i cant get back into a game i loved so much 2-3 years ago

[writingwithcolor]

Avoiding the white savior of the kingdom

@ceo-of-angst asked:

Okay so I'm writing a fantasy series. There's two main kingdoms though there is a third but that one doesn't have to do anything with this ask. Both of them are likely as big as a continent each so there are different climates everywhere, therefore there's a lot of diversity even within one country. The issues mostly is between the two kingdoms nationality wise, as there's a war. The prince of one of the kingdoms kills his older brother to gain the throne. This is where the issue starts. They have a younger (half)sister who ends up leading a revolution bc of her brother's bad rule (famine, war, dictatorship and incantation or sentence to fight to the death in war to anyone who doesn't obbey the government etc), she's white, she's helped by my main cast who are all poc (one of them also from nobility) from the other kingdom and I don't want to accidently make it a white savior She's not my main character though if anything we only see into her pov bc of a difference between kingdoms in book 2. Most of the pov is on my main cast so I don't know how this could pay out.

Add diversity to the kingdom

There is a simple solution: don’t make one kingdom all-white or all-BIPOC. Add in diversity and mixed race. You seem to already be doing that, and it’s not an issue of race but rather tyranny. White saviorism is when only a white character can solve a problem for BIPOC and they’re seen as the hero. If it’s a team effort, where your protagonist is fallible but well-intentioned, you should be fine. -Jaya

Questions to ask yourself

This critique got levied at Tamora Pierce’s Trickster series, and it’s a pretty valid critique of the books—every time you have a white person as a figurehead of an otherwise-diverse movement, you’re going to start getting into why this white person, and why then?

It’s especially salient if you have the person come into an already-established rebellion movement. Is her involvement the thing that gets the privilege necessary to make the movement valid? What about her makes her the ideal top person in the organization?

Why is she white?

My first question is: why is she white? Is it related to colorism and classism? If yes, then why are you automatically making the leading group white if there’s so much diversity and so many other groups can trend extremely pale?

Why are the kingdoms so big?

My second question is: why are the kingdoms so big? It’s actually frighteningly hard to run a continent-sized country. If you’re attempting to make these single groups so big simply for ease of worldbuilding, and for diversity’s sake, know that a country does not have to be large to contain a multitude of groups. You are allowed to have political rivalry in a small area and still maintain diversity within it.

How much privilege is she willing to give up?

My third question is: how much privilege is she willing to give up? Is she trying to take the throne for herself, or is she trying to destroy all of the structures that gave her status in the first place? Because that question will determine how willing the PoC around her are going to be. Why would they support a ruler if they’ve been subjugated by that family, with no real promise she’s going to be any different once she gets in power?

On the flipside, why would she be willing to give up any of her privilege in the name of removing her brother from the throne, and what stops her from going off the deep end once she has the ability to control others?

It’s likely doable to make this situation read as less of a white saviour, but in order to do that you’ll likely need to wask yourself a lot of hard questions about your motives and the character arc you want to have with her.

People may see a white savior, regardless

And you’ll also have to ask yourself if you’ll be comfortable with never really being able to avoid some people calling this a white saviour plot. Even if you do “everything right” and follow every bit of advice you can, there’s always going to be some people who aren’t too thrilled that the person saving everyone is white.

So examine your motives, really nail down what you’re trying to show with this, and come to terms with not making everyone happy no matter what you do.

~Mod Lesya

[andsomemaniacgotridofthewheel]

David Jenkins was not a Big Name Showrunner before OFMD. In fact, I had never heard of him before. I am not even sure what he did before OFMD, according to IMDB he wrote exactly one other show and it is one I have never even heard of before.

And he somehow got HBO to make his weird little show about gay pirates, and he got Taika Waititi to help with it, and while nobody was expecting anything of it - I mean come on guys, remember when OFMD dropped and everyone only gradually realised what it was - it became The Little Show That Could. With almost no advertising. No marketing. HBO did clearly did not expect this show to be anything, to make any real money or to go beyond one season.

But then it blew up.

Because David Jenkins was so insightful, he was so good, he brought so much fresh wind into a business where we usually can tell how the next three steps of how any show is going to go (and to be fair, a lot of us feared that Izzy's death in season 2 was coming, because all the signs fit), that we put him on a pedestal.

THE FUCKING PEDESTAL.

Yes he is brilliant. He has done stuff with OFMD that you never ever see somewhere else. He has understood that historical accuracy, as well as physics and geography, are merely backdrop for plot and characters. Completely irrelevant if you need them to be, but then suddenly important if you have a bit of story that won't work without. He understood that queer relationships deserve to be told, and when confronted with skeptic fans he learned about queerbaiting.

He took a lot of tropes and put them on their head. He structured his show like fanfic. He put thought into his stories instead of following the beaten track. He single-handedly raised the bar for every showrunner out there.

But it is still only his second show.

If he didn't shine so brightly during OFMD's first season, nobody would have expected so much of him.

And yes. He dropped the ball on Izzy.

I loved Izzy to pieces ever since season 1, I wanted to pin him to a board like a bug and study him and take him apart and put him in a blender and in situations, I loved to hate him and in season 2 I loved to love him. He is such a brilliant, complex character, so well written and so well played by Con O'Neill; the options for character analysis, relationship analysis, various interpretations of everything he has done, are simply limitless. 🤯 That is due to David Jenkins & Con O'Neill.

And David Jenkins, standing in the spotlight of all of our exaggerated expectations, decided it would have the greatest emotional impact if he killed him. He made him a symbol, for the end of The Golden Age of Piracy™, and he killed him.

He was right.

He was not original.

He fell for one of the very tropes he so successfully fought in season 1, and for the most part of season 2.

Procuring an emotional response by having a beloved character, who was just starting to embark on an exciting new journey, die tragically and emotionally, providing motivation for the remaining characters.

It was a cheap move.

It is not a Bury Your Gays. Everyone is queer on this show, you can't call something a Bury Your Gays if that would be true for every character death.

But Izzy was also old, and disabled, and he had survived a suicide attempt (that he was driven into, not chose for himself), and had just had an arc of growth and character development that could have gone on for such a long time after this. He had just learned to trust and be vulnerable and experience (gender)queer joy. God, there were so many places his character could have gone.

I loved Izzy as a character, I didn't relate much to him. But Your Mileage May Vary, and I am so, so sorry for everyone who did. You didn't deserve this.

But David Jenkins? Is still sooo much better than any generic bland showrunner that is going places in Hollywood. You want to boycott anything, boycott the big streaming services that don't have the guts to make their main characters queer, to think that "a bit of both" is inclusive or bold, and who drive out any creatives that object and try to sneak in inclusiveness. They are the enemy. They are systemic discrimination and injustice.

David Jenkins is just starting out. And he did so much better on his very first successful show than anyone who has been in the business for years. If anyone deserves a chance to prove that he can do better, it's him.

I'm sure he'll come to regret his decision. I'm sure he'll see where he went wrong, how he could have done better, and fix it in any show he might do after this. I, for one, would much rather see any show he is involved in than most of the crap that the AMPTP is putting out, now or in the future. He can only get better. And he did do a lot of things right. Never forget that. Because the majority of showrunners can't even do the minimum, and David Jenkins went above and beyond.

I think he deserves a little slack. If anyone in the streaming industry does, it's him.

It's the fucking pedestal that is the problem. It makes people who do good but are not perfect suddenly look worse than the most cowardice, opportunistic mediocre guy. But they are not and they deserve a leg up, or we are stuck with the worse option who gets support from all the wrong places. Don't fall for it.

[nanowrimo]

4 Alternatives to Popular Writing Advice

Some writing advice get passed off as something every writer has to do. The truth is, these tips might not work for everybody! NaNo participant Nicole Wilbur offers some alternatives to popular writing advice that may be a better fit for your writing needs.

While there are no definitive writing “rules”, there’s certainly writing advice so common it feels like it’s become canon. Most popular writing advice is generally good – but what if it doesn’t light up your brain? What if a particular tip doesn’t resonate with you?

 If this popular advice isn’t working - try these alternatives! 

Common advice: Make your character want something.  Alternative: Ask what your character is most afraid of.

Your character usually wants something – the MC’s goal driving the story is a common plot, after all. That something needs to be concrete, meaning the audience will know definitively when they’ve achieved their goal. 

(Is “found independence” concrete? No. Signed the lease on their first apartment? Yes.)

But if you aren’t sure yet, or what they want doesn’t feel motivating enough to support your inciting incident, start with a different question: what is your character afraid of? 

Katniss wants to survive, with her family, yes. But she’s terrified of helplessly watching them die. 

Common advice: Identify your story’s theme and stick it on a post- it above your computer.  Alternative: Use the character’s arc to create a main idea statement, and craft several related questions your story explores. 

English class really made ‘theme’ feel heavy-handed. In my grade nine English class, we listed the themes of To Kill a Mockingbird as: coming of age, racism, justice, and good vs. evil. 

While these are the topics explored in the book, I’ve never found this advice helpful in writing.  Instead, I like to use the controlling idea concept (as in Robert McKee’s Story) and exploratory questions (as in John Truby’s Anatomy of Genres).

A controlling idea is a statement about what the author views as the “proper” way to live, and it’s often cause-and-effect. The exploratory question is – well, a question you want to explore. 

In It’s a Wonderful Life, the controlling idea is something to the effect of “Life is meaningful because of our relationships” or “our lives feel meaningful when we value our family and community over money.” The question: How can a single person influence the future of an entire community?

Common advice: List out your character’s traits, perhaps with a character profile. Alternative: Focus on 2-3 broad brushstrokes that define the character.

When I first started writing, I would list out everything I wanted my character to be: smart, daring, sneaky, kind, greedy, etc. I created a long list of traits. Then I started writing the book. When I went back to look at the traits, I realized the character wasn’t really exhibiting any of these.

Instead of a long list of traits to describe your character, try identifying three. Think of these like three brush strokes on a page, giving the scaffolding of your character. Ideally, the combination of traits should be unexpected: maybe the character is rule-following, people-pleasing, and ambitious. Maybe the character is brash, strategic, and dutiful. 

Then – and this is the fun part – consider how the traits come into conflict, and what their limits are. What happens when our ambitious rule-follower must break the law to get what she wants? Sure, a character might be kind, but what will make her bite someone’s head off?

Common advice: Create a killer plot twist. Alternative: Create an information plot. 

Readers love an unexpected plot twist: whether a main character is killed or an ally turns out to be the bad guy, they’re thrilling. But plotting towards one singular twist can be difficult. 

Instead of using the term plot twist, I like thinking in terms of Brandon Sanderson’s “information” plot archetype. 

An information plot is basically a question the reader is actively trying to work out. It could be like Sarah Dessen's Just Listen where we wonder "what happened between Annabel and her ex-best friend?", "why is Annabel's sister acting strangely?" and "who is Owen, really?" Those all have to do with backstory, but information plots can be about pretty much any hidden information. Another popular question is "who is the bad guy?" - or in other words, "who is after the characters?" The Charlie's Angel franchise, for example, tends to keep viewers guessing at who the true antagonist is until the last few scenes.

Nicole Wilbur is an aspiring YA author, writing sapphic action-adventure stories that cure wanderlust. As a digital nomad, she has no house and no car, but has racked up a ridiculous number of frequent flier miles. She chronicles her writing and travelling journey on her YouTube channel and Chasing Chapters substack.

Photo by George Milton

[dotster001]

Twisted Earth

Summary: What if we are the game characters in Twisted Wonderland? Gn!reader x Crowley/Crewel/Vil/Rook/Malleus/Idia

requested by @stygianoir

Part 2 Part 3 Part 4 Part 5 Part 6

He plays your game instead of actually doing his work, but he thinks no one knows. (everyone knows)

You're his favorite character. He relates to you, (or he thinks he does, but he's a little delusional). If you got transported to your world, he thinks of how he'd treat you to whatever you want, and then you'd stay with him forever, constantly praising his generosity. Ah, bliss.

Despite you being his favorite, his gacha luck is very bad, and he only has two or three of your cards. He has a lot of your best friend, and even more of that one character that the game devs keep alluding you have a history with, but only a couple of yours. It drives him crazy. He's very pouty at the end of an event period.

He wrote one self insert fanfiction. Except it was the kind of self insert where the author gives the reader, a name, a personality, and a physical description. So it was just for him in the end.

He got the game because he saw Crowley playing it in a meeting (again), and he became curious what the big deal was.

You're his favorite because you have the best color scheme and design.  He has an SSR from an event of you, and it made him like you even more because it gives him a major power boost.

He has that event SSR, and all your regular cards. He doesn't mind what he's got, he can just see the rest on the internet.

His latest fashion line was a collaboration with the game devs, specifically for your character. The devs are also thinking about having an event with his outfits. He is patiently awaiting the start date.

He found the game when they reached out to his manager for an endorsement on his magicam feed. He played the game a little, and got your basic SSR in his first pull. 

He plays on his free time (which isn't very often), and mostly focuses on the main story, and your side stories from your cards. Like Crewel, he has an okay collection.

You just live such a different life from him, it's fascinating to see!  He likes to think about how much you could teach each other if you were real. He also just wants to pamper you, especially after that recent angst arc.

He may be lined up as a celebrity voice actor for season two of the game's plot, but we can't discuss that at this time.

He has two best friends now. Gao Gao dragon kun, and you. 

Got the game after Lilia told him "all the cool kids are playing it". He plays it every day, multiple times a day.

He finds your character to be an endearing human, and thinks your adventures are cute. He likes you a lot, because he thinks if you were real you'd be his friend, and maybe something more? Oh! He gets butterflies thinking about it!

He doesn't have very good luck getting your cards, but he's fine with that! He takes good care of the ones he has.

He discovered fanfiction! He is the biggest fanfiction reader on any platform, and is single handedly funding all of his favorite writers. Has made many requests, from various authors, for y/n x lonely fae prince. He cries for angst, and giggles like a kid for fluff. Lilia has read all of his favorites.

He may or may not be working on a spell to make you real.

If the Great Roi du poison endorses a game, you can bet that Rook will be playing it.

That said, he only opens the app once a month. He's too busy and distractible to remember to play more often, but you're definitely his fave character.

He likes to imagine just watching you. Seeing you explore a magical world after coming from a nonmagical one. He finds you to be a fascinating character, and is an avid theorist for all the lore!

He's a fanart drawer. You cannot change my mind. It's mostly of you, but sometimes, if he's feeling generous, he'll draw other people's favorite characters, or draw ships people have for you. But  he has to grit his teeth the entire time he does the latter. He'd rather draw you and him.

He's been playing the game since it came out. He was on the developer's hype train months before the release, and downloaded it the second he could.

He has average luck, but he's also spent real money on the game just so he can have the entire collection of your cards. He's only missing one, because for that event he had worked himself into a gamer coma, and now he'll never forgive himself. He's waiting impatiently for the revival of that draw.

He simps for your character so hard. You have all the traits he's looking for in a significant other. Although, he is one of the realist gamers, who worries that irl you wouldn't like him. But he likes to pretend anyway, hugging his body pillow of you, and imagining you both cuddling every night.

He has bought every bit of merch he could find. He has read every x reader fanfic of you on the internet. He has commissioned several fan artists for pictures of you, him, and Ortho as a happy family. He has paid your voice actor on Magicameo terrible, I know I'm sorry to wish him a happy birthday in your voice. He's unstoppable.

....

Tag list- @shytastemakerthing

[checkoutmybookshelf]

The Quartet That Started It All

As followers of this blog will note, this is not actually the quartet that started it all for me, but it DID launch author Tamora Pierce's career in the 1980s, and Alanna remains absolutely beloved among Pierce's heroines. Let's talk the Song of the Lioness Quartet.

In a classic case of "if I can't do this as a girl, then I'll do this as a boy and I have a handy twin brother to go full Twelfth Night with," Alanna of Trebond begins The First Adventure by dressing as a boy to train as a page in Tortall's royal court. This book introduces all our main characters and establishes Alan the page amongst his peers and Alanna as she finds herself and her place in chivalry.

One of the other amazing things about Alanna's story overall is that she begins it absolutely terrified of her own magical gift. Her arc includes learning to work with her magic rather than to fear it, and that's a twist on magic users that I really appreciated. We often get overly confident magic users--indeed, we'll get TWO of them later in the series--but it's rare that we get magic users who are fully aware of their powers and are still absolutely terrified of them. So of course, the story and the world and Pierce herself keep throwing Alanna into situations where she has no choice but to develop and use her gift. It's so, so good. This first book covers Alanna's page years, and we move into her squire years in book two.

In the Hand of the Goddess really expands on Alanna's key relationship with Prince Jon on Conte, Duke Roger of Conte, and Geroge Cooper. Alanna moves into a wider world of adult politics and stakes in this book. From being able to defeat an older, stronger, and more experienced opponent in a duel to developing her healing skills when a wound puts her out of commission during a war, Alanna cements her skills, connections, and position in society. This culminates with unmasking Roger as an attempting regicide and the accidental reveal of her gender.

This book is really, really good, and extends Alanna's childhood fear of magic to her fear of Roger specifically in a really natural, logical way. I could say more about the details, but these two books have an episodic vibe to them, so I won't spend too much time exploring every single key plot event.

The Woman Who Rides Like a Man sees Alanna spending her first year as a knight in the desert, with a Bazhir tribe. She becomes their shaman by way of self-defense; she murders their first shaman when he tries to murder her for "being unnatural." Then it falls to Alanna to train three magic users for the tribe, and this is where we see more nuance into how different magic users relate to their powers, from sheer hubris to fear to "this is just part of me, let's do this." It's a phenomenal experience for Alanna, and she learns as much from her students as they do

Book three also sees Jonathan bitching to hell and back about having to be king, which is not a great look, and it's one Alanna calls him on. He spends most of the book alternating between pitching a hissy fit, begging Alanna to marry him, and training to take over as Voice of the Tribes. The interesting thing here is that Alanna refuses to marry Jon. He is trying to fit Alanna into his own fairy tale, and she very much goes "That isn't our relationship, I can't do that. We aren't meant to be like that, and that's ok." If I could inject that lesson into humanity's collective head, I would. It's well done and it's great.

Lioness Rampant picks up on Alanna's travels after she leaves the Bazhir, and eventually sees her return to Corus with a magical artifact to help secure Jonathan's position as king.

There's also the teeny tiny complication that Alanna's twin brother, Thom, has resurrected Duke Roger. Absolute chaos ensues, and Roger almost manages to take out the entire court during Jonathan's coronation. Nobody should have to kill an evil sorceror twice, but Alanna did.

If you want to dive into Tamora Pierce's Tortall Universe, starting with Alanna is absolutely a good choice. These books hold a very soft spot in my heart, and they're never not engaging.

[furrysmp]

decided to go sunbringer designs for once. I have so many words oh my god

so. uh,

I am so normal about sunbringer joel smallishbeans so normal I swear. he's planning to throw the o from his name at scott btw.

... he and scar are related but I'm not explaining further until the actual fic about it comes out because there's so much plot significance in the smallishbeans.

... grian. has a book. that he borrowed from the Library. it's very relevant I swear the concept of the library is a plot point.

Also grians eyes are technically green! With a bit of purple and just. a layer of Dark over them to make them less neon green. its not in his genetics to have neon eyes. unlike scar and I swear their eye colors are relevant but like in a weird queerplatonic scarian dl based bit in the grian chapter of the fic

Mumbo is a long cat and being held by me specifically those hands are how I draw my mc skin. I wanted to draw him as this meme since 2021 but he's very hard for me to draw so I took the one time I'll ever draw him and did this.

Jimmy is. a creature. that has bird features but also cod features bc again half of the plot of sunbringer is based on empires 1. Also the bird he's holding is singing. And joel is stealing the song bc he has music type magic.

Scott! Is the one guy I can talk about! Because he already appeared in the fic. He's part ender dragon and like. a child of stars? I have a lot of times I drew him before I think but idk how much of it I uploaded before so yeah. Please ask me about sunbringer scott smajor he's one of the only ones I can talk about and he has so much lore going for him he's so dear to me

impulse is. technically part ender dragon too? the specifics will be explained in his chapter of yhiwu (alongside. a lot of magic lore. like a lot. I have half that speech written already it's basically looking the empires fic in the eyes and going "fight me uwu")

And because impulse is aligned to shadows skizz gets to be some form of light dragon descendant? Like light isn't directly an element in the magic of this universe but it does have an equivalent in the element of Life, which connects to truth and love, whereas shadows and theatrics (and storytelling in general) is always aligned to whatever element is considered dark; in this magic system, being Void.

Tango is looking up at mumbo. thats all. I don't have a lot of notes because my tango is just a little guy.

(Etho is checking smth on his smartwatch and also doing his best to ignore bdubs rn bc bdubs is in his villain arc/hj)

... ngl the only note I have on the bdubs design is that it's accidentally inspired by my human design for the main character in the show I'm writing. Bracelets and sparkly eyes and a t-shirt and. Crimes.

also not much on the cleo design she was just fun to draw but the implications of her existence are spoilers and also not really visually indicative bc idk what a "zombie hybrid" would look like so she just looks. funky. her background is all stitched together btw I finally had a use for the dashed lines brush :D

martyn and ren are. BIG spoilers. But only to like chapter 5 of the current fic. I will say I highly enjoy their existence tho. Also my ren designs always have hawaiian patterned shirts its a personality trait he seems to possess. Also his glasses are like. a hologram? bc his ears are Dog so he cant have normal glasses w like. the things that go behind ur ears.

lizzie is. also very important. she gets the two animals thing like jimmy bc axolotl and cat were her empires animals. also her buns are heart shaped I saw some fanart of that and its really cute so I also have that. and she's also looking at the long mumbo! very confused.

bigb. scares me. like yeah secret life really be mans villain arc. I tried to reflect that by actually straight up mirroring his eyes and having him be. the only guy looking straight at u. he can see u. u can run but u cant hide. also he gets cookies. also also drawing facial hair is hard he's the only time I ever managed to make facial hair look. normal. ever. wont happen again.

gem is being adorable and also definitely a deer hybrid dont mind the magic or stuff its fine (her chapter is. third in the roster. I literally just need to finish the impulse chapter to convince myself that its ok to upload her immediately after ch2).

and pearl! who we know bc she gets first chapter of the fic and thats already out. her eyes are a bit like moons btw. also she's doing magic back at gem which is cute I think. idk.

also half of them have fancy hair shines. like joel having beans that get progressively smaller. or pearl having moons. :D

[chaikachi]

The Little Prince, The Rose, & The Aviator

AKA We just got confirmation that Oscar's main allusion is in fact The Little Prince so I wanted to gather all evidence that supports it in show thus far.

cross-posted from twitter

A brief summary for those who aren't familiar:

The Little Prince is a story about a young boy that travels to many worlds & meets many people. It is told out of chronological order from the perspective of an airplane pilot that the prince meets close to the end of his journey.

It explores themes around childhood and growing up, love, loss, friendship, loneliness, and hope, among other things. All ideas very prevalent in RWBY.

Part 1: The Little Prince

The first theme I want to touch on is that struggle of trying not to lose yourself as you grow up.

"Grown-ups never understand anything by themselves, and it is exhausting for children to have to provide explanations over and over again."

Oscar is the youngest of the group, and yet he is one of the characters most often shown trying to reason with the adults in the room.

Yes, we've mainly seen it with Hazel, Ironwood, and Oz... but while the rest of RWBYJNR are also 'just kids', he spends so much energy trying to reason with them and mediate conflicts there as well. All while still being the youngest of the bunch.

Another way this shows itself is in Oscar's resistance to merging with Oz. The merge is a very clear metaphor for how the people you meet and the things you experience can often change you. And how, when you're a kid, it all feels like its completely out of your control.

Speaking of the hoverbike scene, I want to shift to a different part of The Little Prince. The infamous moment with the fox and what it is to be 'tamed'. To be tamed is to create ties with others. To become important to them and for them to be important to you.

When Oscar is having a talk with Oz in v8 about how he finally felt like himself, the person he wanted to be, and felt like he was finally "part of the team"... There is a fox plushie lying on the ground as he passes by.

But we see that Oscar was right to feel this way later on.

Because just as he was "only a little boy like a hundred thousand other little boys" when he first met everyone... he had since been tamed, and tamed his friends in turn. And they fought tooth and nail to bring him back when he was captured by Salem.

Part 2: The Aviator & the Rose

In RWBY, most characters have a main allusion that is central to their arc and then secondary allusions for what roles they fill in relation to other characters. (Ex. Yang's main allusion is Goldilocks, but when thrown into the plot, she also becomes the Beauty to Blake's Beast, just as Blake was once the Beauty to Adam's Beast).

If we apply that metric to other characters here, we know that Ozpin's main allusion is The Wizard of Oz and Ruby is Little Red Riding Hood... so when placed within Oscar's story structure of The Little Prince, they become The Aviator and The (Ruby) Rose, respectively.

The aviator is a man that struggles to hold onto his childlike wonder. He tries, but he lives in a world of grown-ups so it becomes difficult with time. The little prince - much like Oscar with Ozpin - helps him remember some of the things that he's forgotten.

When the little prince meets him, the aviator is grumbly after crash landing his plane in the desert & is trying to fix it before he runs out of water.

Funny then, that when Oscar is crash landing a plane it is Oz that instructs him on how to do it.

When the aviator explains his circumstances, the prince laughs and exclaims that he "fell from the sky too". Which is an interesting tie in to the canon RWBY fairytale mentioned in Before the Fall, The Boy Who Fell From The Sky...

...as well as another fairytale we've seen mentioned in the show proper: The Girl Who Fell Through The World. A tale that was first talked about by Oscar, later expanded upon by Ozpin, and finally lived by Ruby Rose herself. (Yes her team also experienced it but it's very strongly emphasized Ruby and Alyx were paralleling each other in ways the others were not).

One thing about the little prince and the aviator is that by the end of their journey when it's time to say farewell, it's quite clear they've tamed each other as well. So much time spent by the pilot wishing to fix his plane and get out of the desert, but when it's finally time to say farewell, he does not want to go. This is not something we've gotten in show yet, but I'm willing to guess is going to be the basis for when the war is won and Oz is finally set free. Leaving the two of them to finally have to say goodbye.

And I realized I couldn't bear the thought of never hearing that laugh again. For me it was like a spring of resh water in the desert. "Little fellow, I want to hear you laugh again..."

Moving onto the Rose.

In the story, the little prince is enamored by her as soon as he sees her for the first time. As he gets to know her, she is described as many things. Some that fit Ruby well (miraculous, naïve) and some that she subverts (vain, self-centered).

Ruby might not be caught up on physical appearance, but she is convinced that she's the only one in all the world that can do what she has to do. It's a childish way of looking at things, and to believe you can't accept help from others is - in its own way - selfish.

In the book, the rose asks the little prince to tend to her. She's very needy with her demands and while the prince loves her dearly, it is a strained relationship. In RWBY, Oscar sees Ruby wilting very early on and decides to tend to her without waiting for her to ask. Of which we have... SO MANY EXAMPLES AND I DON'T HAVE A HIGH ENOUGH IMAGE LIMIT TO POST THEM ALL SO YOU GET 2.

Not pictured here, but still worthy of note: Oscar mediating when Ruby is being undermined in v8, Oscar talking the responsibility of telling Ironwood the truth in V7, the "food always makes me feel better" / "I made you a casserole because you were sad" scenes. The List Goes On.

Part 3: Other Easter Eggs & Evidence

There are also other fun little pieces that drive home just how much these characters allude to the book as well as the inspiration it's had on the show in general.

The first thing the little prince asks the aviator for is a drawing of a sheep that he can take home with him so that it can eat up the sprouts of baobab trees before they overgrow his entire planet and destroy it (and his rose) in the process...

The tree in the Ever After has maple leaves, but the shape of its trunk is very clearly not a maple. When compared to these illustrations, it seems to have pulled inspiration from baobabs... and what does the tree in the Ever After do?

Its roots consume the rose.

One of the lessons that's brought up repeatedly in the book is that:

"One sees clearly only with the heart. Anything essential is invisible to the eyes.”

This is brought up in a few different ways:

The little prince left his rose back home, so when he looks to the night sky, separated from her, he says:

"The stars are beautiful because of a flower you don’t see . . ."

When Ruby is in the Ever After, with no one to tend to her, she is in a town filled with paper stars.

It is brought up again in reference to the desert, which we have a wonderful tie-in now thanks to the animatic shared at RTX recently:

“What makes the desert beautiful,” the little prince said, “is that it hides a well somewhere . . .”

And again by the aviator in reference to the little prince himself.

What makes the little prince special is his loyalty to a flower. Ruby Rose, who inspired Oscar to keep fighting, who reminded him he was brave, and who's mission he has worn on his literal shoulders.

Two other lines in that passage I've highlighted I also want to mention.

"As the little prince was falling asleep, I picked him up in my arms, and started walking again. I was moved. It was as if I was carrying a fragile treasure."

This line about the little prince being a treasure (treasure is an rg song truthers rise up 🙌)

And the emphasis on lamps being symbolic of the Little Prince himself which... we've seen for Oscar A LOT.

"What moves me so deeply about this sleeping little prince is his loyalty to a flower - the image of a rose shining within him like the flame within a lamp, even when he's asleep... (...) Lamps must be protected: A gust of wind can blow them out..."

Also Ruby has been referred to as a "spark" by Oz before and when Oscar is worrying over Ruby at Brunswick farms, Maria tells him to "keep that fire fed" which is exactly what lamp lighters do. Just very deliberate use of that imagery here.

It ALSO ties into earlier in the novel where, among the little prince's many travels meeting plenty of confusing adults he doesn't understand, he encounters a lamplighter. And of all those that confused him, he found he could at least relate to this one and see value in his work.

There is also a matter of how the prince's first appearance is at sunrise:

That he is cited to live on a planet "scarcely bigger than himself" and "being in need of a friend". How we see Oscar very alone on his farm back in Mistral, just like the prince, only tending to his daily chores by himself, we never even see his aunt.

And while there are a few other bits and pieces i'm surely forgetting, the last big one I want to talk about is how both the beginning and end of the book start with a venomous snake.

The aviator shows us a drawing of a boa constrictor eating a wild beast...

...versus Oscar's first appearance coming immediately after he wakes from a nightmare of Tyrian, a venomous scorpion faunus, being sent to capture his rose.

And the story ends with the little prince in a desert getting bit by a venomous snake that sends him back to his rose and away from the aviator... thank goodness RWBY loves to subvert its fairytale origins, amiright?

"(The little prince) fell gently the way a tree falls, there wasn't even a sound..."

tl;dr Oscar is for sure The Little Prince, Ruby has always been his rose, RG canon, Tryian vs. Oscar in the desert real and #GREENLIGHTVOLUME10 SO WE CAN SEE IT HAPPEN ALREADY >:OOOO

Thank you for reading 💕

[pinkeoni]

Will Byers' Coming of Age Horror Story

Today I wanna predict Will's storyline in season 5 using horror genre tropes.

What's interesting about Will is that he often falls under tropes that are typically associated with female characters.

In season one he's the dead girl. He's Laura Palmer. He's the face of innocence that goes missing/dies and kicks off the story.

In season two, he's the possessed girl. He's Regan MacNeil. It's the irony of evil inside of the face of innocence.

Now, in season three he isn't given as much attention, so pinpointing what kind of trope he follows is hard to do. However, with season four we are given insight into what that trope is. Season four is a little different because he actually takes on a teen drama/romcom trope instead of a horror one. He's the girl next door, he's Joey Potter from Dawson’s Creek.

He's the childhood best friend who get's involved in the love triangle between the Main Guy and the Cool Girl. We see glimmers of this in season three, but it doesn't become especially clear that this is what they were going for until they lean into Will's feelings in season four.

So then, what does this mean for Will's arc moving forward? Will season five follow the pattern of female tropes? If so, which trope will they go with?

Some important information we are already given about season five is that this is going to be Will's coming of age. We've had this confirmed a few times by the Duffer Brothers.

Given the nature of the show, it wouldn't be out there to assume that his coming of age is going to be explored through a supernatural element. In fact, supernatural coming of age horrors are actually pretty common, especially female supernatural coming of horrors.

These types of films typically explore coming of age through some kind of supernatural and/or horrific element, usually in quite the gruesome and violent way. While these films will explore a broad spectrum of different subject matter regarding coming of age, sexuality and sexual awakening is usually a point of discussion. Sexuality and either supernatural and/or horror elements run adjacent to each other, and sex is typically associated with violence. IE lycanthropy in Ginger Snaps, cannibalism in Raw, demonic possession in Jennifer's Body, Nina’s transformation in Black Swan etc.

The reason for this is because female sexuality is usually demonized. It's seen as something as horrific and monstrous, and as such this trope is often associated with queerness. Films that follow this formula are typically seen as queer coded, or even include blatant queerness (see Jennifer's Body or Black Swan)

So now we have a character like Will, whose sexuality is already demonized in universe, going through his own coming of age narrative in a supernatural horror show.

What would be an effective and streamlined way to showcase coming of age and queerness in a way that also coincides with the nature of the show and even goes along with the lore?

I know that with the limited number of episodes, there comes the reasonable concern of being able to squeeze in so many different storylines and themes in such a short amount of time. I get it, it's my main problem with season 3. How are they going to find the time to adequately explore themes relating to Will's sexuality, while also having to wrap up all of the loose ends regarding the supernatural plot?

Easy, you do what the above examples did, and make Will's sexuality and his connection to the supernatural the same plot.

It's not like they would have to reinvent the story in order to do this, they've already been setting up clues for this exact storyline.

In season one, Will's rumors of Will's queerness is pretty widespread among the town, it's one of the suspected reasons for why he went missing. His queerness is already being correlated with supernatural from the very start.

As I've said before, coming of age horrors usually explore sexuality through of lens of something supernatural. It’s not that the supernatural plot takes the place of Will’s sexuality, but rather these two plotlines run together to aid each other, and the supernatural plot can express ideas relating to his sexuality in a more metaphorical way.

So then, how could Will’s burgeoning sexuality be explored in a supernatural way, that fits within the universe of the show?

His powers

@therainscene already has a great post discussing how Will’s powers are his queerness, I reccomend reading it because they explain a lot of the same points that I’m going to but in a much better way than I ever could. Although I wanna point out this point they make at the end—

I would go as far to say that this is what the show bas been building toward the entire time. Think about how many elements of Will’s storyline matches up with both his sexuality AND powers:

Being taken in season one (the town believed it was because of his sexuality, when really Vecna could have taken him for his powers)

Bullied by his peers (being called Zombie Boy for his experience in the UD and other slurs for his sexuality)

Powers/sexuality being seen as mental illness (his true sight visions being misinterpreted as flashbacks)

Repression of both powers and sexuality

Castration (Soteria effectively being a conversion tactic for powers)

Stigmatization (the town sees both the supernatural and homosexuality as satanic)

And finally, acceptance (neither Will’s powers nor his sexuality are horrific, but a beautiful thing to be embraced)

Here’s what Will’s storyline looks like written out:

Will is initially targeted for his sexuality/powers (season one) and he is to be judged by his peers for his sexuality/supernatural experience, and his sexuality/powers are thought of to be a mental illness (season two). His sexuality/powers remain repressed (season three) until they are slowly revealed to the audience (season four) and he finally accepts and embraces his sexuality/powers in the end (season five).

If we follow a typical storyline from a coming of age horror along with what we know about the show, here’s my rough prediction for Will’s s5 arc:

Post time skip, Will is beginning to come into his sexuality more and more but it’s difficult given the external environment

Will has an awakening of powers emblematic of his sexual awakening

Owens + the government tries to “cure” Will of his powers by getting rid of them (I’m going to make a post in the future elaborating more on just this point)

In the beginning, the powers bring a lot of complications and strife (he would likely be targeted for having them, and may not like having them himself)

In the end though, Will comes to embrace the powers he was given as a wonderful, beautiful thing, and they are what helps save the day

Now, some may notice a discrepancy between Will’s storyline and the coming of age horrors I talked about prior, and that’s the idea that Will will have a much more positive end than the female protagonists I discussed. Although, the show has a much different tone and different message than the films above. While those films usually go for the tragic angle, I don’t think the show about uplifting outcasts and wierdos is going to end with the gay kid dying.

I also don’t think that the show is going to try to portray Will as a villain. I think it’s possible that other characters may see him as a villain, but once again, given the shows message, I don’t think the gay kid is going to turn evil. Like I said before, I think Will is going to learn that his powers are actually quite a beautiful thing, just like his sexuality, and learn to embrace it.

tagging: @downbytheriversside

[crimeronan]

first post I've seen that's got me genuinely interested in leverage... do you think I'd like it

HMMM I THINK IT DEPENDS. i can wholeheartedly recommend it as a pretty leftist show about insane characters being insane and maladaptive, the slowest-burn polyamory i've ever seen, character dynamics off the CHARTS, super clever writing, incredibly done arcs, and episodes that all feel fresh and important despite also being semi-formulaic (the vast majority focus on one heist of the week, robbing one shitty rich person).

my one caveat is that one of the main characters is ex-US-military and gets in his feelings about it and there's some pro-military messaging and occasional imperialism-related jokes that make me cringe hard. it's not unexpected for an american TV show from 2008 and it's certainly not as relentless/overt as with a lot of other shows from the same time period (it's not even relevant in the majority of episodes), but like...... i know that This In Specific Is A Personal Turnoff so i wouldn't rec the show without mentioning it.

amazingly though, that's the Only major criticism i have of the show. (not counting occasional minor quibbles with individual episodes -- again, none of which i dislike at all.) overall every single plot is about finding a new completely fucking evil rich person modeled off of real life completely fucking evil rich people, and terrorizing them not just financially but also psychologically. the team Breaks their targets of the week. they don't do murder, but mostly Because their focus is on ruining these people's lives and making them Sit In It. instead of getting the mercy of dying.

so like, power fantasies about taking down corrupt politicians, oil barons, fascists, mega-corporations, wellness influencers, and more, all while creating entertaining satirical caricatures of the Worst People On This Earth. in this, and in the characters being SO FUCKING CRAZY, i think you would have a Great time.

[lizzieonka]

Unpopular opinion: There is no Link Click “trio.” It’s just the ShiGuang Duo + Qiao Ling

Now, before the Qiao Ling fans come after me, I just want to make it clear that I do not hate Qiao Ling. She’s a queen, and I love her. What I do hate, however, is the writers’ neglect of her character.

Warning: This will contain major Link Click season 1 and 2 spoilers.

Cheng Xiaoshi, Lu Guang, and Qiao Ling have been marketed as the main trio right from the OPs and EDs all the way to the different official artworks and PVs. But despite this, Qiao Ling has never been portrayed like a protagonist in the story itself. Her value has always been tied to some other character, and what’s sadder is that even as a supporting character, she’s still being neglected by the writers.

Cheng Xiaoshi and Lu Guang both have something in themselves that push the story forward. Cheng Xiaoshi’s recklessness in s1 is what gives tension to the dives and what leads to the overarching plot related to Emma. His planning in s2 also keeps the plot going. On the other hand, Lu Guang acts as the voice of reason, grounding the fantasy aspect of the show. His hypocrisy revealed in s2 also reshapes how we view the entire story.

But what about Qiao Ling?

Throughout most of season 1, she’s been kept in the dark about ShiGuang’s powers, which in turn excludes her from a big part of the story. In s1, it was only during the kidnapping arc that we see a bit more about her, but the focus wasn’t on her at all but on some random extra. And at the last episode when she finally gets to be in on the whole eye power thing, Li Tianchen possesses her, overshadowing Qiao Ling entirely and redirecting our attention and interest to him. (Extra: In season 1, between Qiao Ling and Emma, would you dare say Qiao Ling is the protagonist? I bet you won’t.)

Then in s2, despite Qiao Ling’s extra screen time and more involvement in the plot, the neglect of her character is even more palpable. She got possessed by a murderer, nearly killed her friend, and even tried to stab her own brother, but even after all these, we barely get to see how she had to process everything.

It’s really no surprise many people loved this scene:

This, for me, is the one time, the ONE time Qiao Ling is portrayed as a character on equal grounds with Cheng Xiaoshi and Lu Guang. If Link Click were a sports anime, this would be the scene where she discards her role as the female manager over a bunch of male athletes and expresses her desire to become a player as well.

But unfortunately, after this episode, Qiao Ling is once again pushed to the sidelines. She’s a player now, yes, but a player who’s just being pushed along the game. She may take the initiative in some things (like talking to Li Tianxi), but even then, the things she do are all still just to help her friends. You know, like a supporting character. None of what she’s doing is for herself alone. (If any Blue Lock fans are reading this, Qiao Ling has no “ego,” so to speak.)

Qiao Ling has no goals of her own, and this is how the writers failed her.

All the other major characters have their own goals. Heck, even the antagonists are more like protagonists than Qiao Ling.

Cheng Xiaoshi wants to find his parents. And he also just wants to help the people he meets in dives

Lu Guang selfishly broke the rules of time travel just to keep one man alive and will do it again if he must

Li Tianxi betrays her brother and Qian Jin just to find a way home

Li Tianchen approaches ShiGuang and later kidnaps Cheng Xiaoshi because he also wants to go home

And Liu Xiao wants to, I don’t know, change the rules of time and space entirely?

God, writing that last bullet makes me realize that even Liu Xiao, who only showed up in the last episode of season 2, has more weight in the story than Qiao Ling. This is ridiculous.

Seriously, what is Qiao Ling even here for??? Play big sister???

Just market her as a supporting character. It’s fine. She’s still badass.

I also don’t have much hopes over how she will be in season 3 because of how season 2 ended. Qiao Ling seeing Lu Guang’s memories means her worth in s3 will inevitably be tied to this secret. It’s the s1 ending all over again. At the end of s1, her worth was tied to the mysterious Red Eyes. At the end of s2, it’s tied to Lu Guang.

If the Link Click writers are gonna keep pushing her as a protagonist, then they better start treating her like one!

It’s not enough to just give Qiao Ling a goal, by the way (although it is very important too). She must also become a player who has the power to control how the game goes. If she ends up inheriting Li Tianxi’s powers, as many theories have said, then may the drama around her not be focused on how she may leak Lu Guang’s secret at any time.

I don’t know what she could do with her powers, but I think it would be very interesting if she ends up opposing Lu Guang.

Lu Guang wants to keep Cheng Xiaoshi alive, but...

...he’s no longer alive. The Cheng Xiaoshi we see is just a glimpse of the past...

What if… as Qiao Ling sees more of Lu Guang’s memories, she sees more of the real Cheng Xiaoshi and suddenly… wants to let go… wants to move on?

The fandom have talked a lot about how ShiGuang may react once the secret is out. But what about how Qiao Ling would react to it over time as she realizes those memories weren’t just her overthinking things?

In season 1, she couldn’t bear to face that kid’s father for years, and at the end of s2, she couldn’t bear to confront Lu Guang… In s3, how long can she bear looking at her dead brother?

The chances of her “giving up” Cheng Xiaoshi and returning to the original timeline is slim, though. I’m just giving an example of how she can be more like a protagonist.

Anyways, I’ll end here… I still have so many thoughts, but I can’t figure out how to organize them. This has also been in my drafts for over two weeks and I just want to post it already!

[inbarfink]

So although Order of the Stick is explicitly textually not an actual D&D game with actual players, it’s pretty cool how well Belkar’s character arc work not just as your usual ‘asshole character learns to care’ story but also mirrors the narrative of an asshole troll player learning to play the game seriously.

Like, while the whole Order kinda plays on standard D&D Class Stereotypes on some level, Belkar was always the one who played more into a Player Archetype than a Character Archetype. Maybe because that Player Archetype is often defined as lacking an interest in serious Roleplaying.

I mean, there’s nothing wrong with wanting to play a tabletop RPG just for dice-throwing and violence. The problem with That Kind Player is more when they attach themselves to a group that is otherwise interested in character and plot - and rather than finding some sort of compromise with the rest of the group or just looking for a new one more amicable to random violence - they keep hanging around while expressing just a total disinterest in the plot.

And caring for really nothing but scoring as many kills as possible, even if it gets in the way of the group’s general strategy...

And/or the DM trying to tell a compelling narrative...

And sometimes just being disruptive and causing conflict for the lols.

Also, Belkar has, like, objectively the worst build in the entire Order and he started out with no understanding of his Class outside the Two-Weapon Fighting. He really does act just like the One Guy who really wanted to play a double-wielding character because it’s badass, saw it’s a Free Ranger Feat and refused to read any of the other features or flavor text of the class.

So when he befriends Mr. Scruffy, it’s not just the ‘Mean Character Warms His Heart to a Cute Animal’ trope - it’s also figuratively about a player learning how to actually play and roleplay his Class and use other class features that are not directly related to just Stab the Enemies and They Fall Down.

And so much of his character arc is about the realization that he doesn’t really know himself. It is a character arc from an in-universe person but it also parallels a narrative of someone who is learning how to engage with his character for the first time and almost, like, retconning more connection between Belkar and his non-combat class features as the metaphorical Player becomes more invested in using them.

And it’s just… pretty interesting, in a stage where OOTS is really moving away from meta-D&D jokes - that the most meta-D&D part of the comic is the pretty-serious character arc of one of the main party members

And, I dunno…

[ask-the-prose]

Step 0 of Writing a Story

Everyone has a different method of planning and writing a story, whether it’s a novel, novella, short story, fanfiction, or anything else. The steps can look different for everyone and go in many different orders depending on what works for you.

But I want to talk about Step 0: developing the premise.

Many of us will use story premise and story concept interchangeably, but they’re quite different. The premise takes your concept and focuses it, including the basic bare-bones of the plot. A premise should have a few things: a protagonist, their motivation, obstacles they will face, and a setting.

The Protagonist

In the last couple of weeks, I’ve discussed characters and how to build a character arc; this comes into play here. Your protagonist is your main character, and the story revolves around them and their actions, motivations, and goals.

Your protagonist does not need to be the “hero,” “likable,” or “relatable.” They can be anything you would like them to be, so long as the story centers on them and their actions. Who is the story about? What is their name, and who are they at their most basic?

It’s important to know what the protagonist’s motivations are regarding their goals. What is their goal, and why do they want/need to achieve it?

The Setting

The setting is where the story takes place. This part can be a lot of fun! But when writing your premise, be sure to keep it concise. Worldbuilding comes later, and the premise is mostly about the plot.

What is most important to know about your setting? Is the world magical? Are there zombies? Condense it down to a sentence or two.

The Obstacles

The bread and butter of your premise comes down to what’s stopping your protagonist from achieving their goal immediately. As romance writers put it: why can’t they be together now?

The obstacle can be an institution, a person, or a group of people. The conflict between the protagonist and the obstacle is the core conflict of the story. Condense this struggle down to a sentence or two.

Drafting Your Premise

Now it’s time to put it all together. Some tips for drafting a strong premise:

Cut out extra words - imagine you’re trying to fit your premise into a tweet. What can you cut without losing meaning?

Use active voice

Leave room for curiosity

Your premise can be your guiding light for the rest of your story, from outlining to drafting to editing. The premise is there to help you build your story concept into a fully-fleshed project. Your premise should be short and to the point, something you can explain in an elevator.

– Indy