#Like to describe or decide how or to define their motivations

[adhdo5]

Why is it so hard to decide what characters are Actually Doing and why is there no advice on the topic

[aceduchessdragoness]

Uploaded on 1 January, 2024 by [@]ahmedeldin and [@]hiddenpalestine on Instagram

"An ex-Israeli soldier describes the IDF’s strategy of targeting residences of innocent Palestinians, entering them, and subjecting occupants to harassment. This tactic aimed to instill fear and deny innocent Palestinians a sense of security on their own land, inside their own homes.

Another soldier who is [@]breakingthesilenceisrael shares the horrific reality of his past, reflecting his inhumane treatment of Palestinians and his complete domination over them.

#BreakTheSilence#humanrights#ceasefirenow"

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[id: The video captions read as follows (grammar/punctuation done by me):

[This stays on the screen the entire video] Former Israeli soldiers explain how the IDF acted without any limits, selecting homes belonging to innocent Palestinians, invade them, and harass its inhabitants

1st soldier: Every house in the West Bank actually has a number. Each and every house has a number. So, we would open up the maps and look at the specific house that looked into the right place that we had to enter – (a) city centre or a road – and after we would verify that the house has the best parameters, windows, and geographical area, we made sure the people in the house were innocent. So, you – we – we would enter a house of (an) innocent Palestinian home in the middle of the night.

But I would say that what motivated me eventually to break my silence – was the piercing eyes of the young Palestinians when I was barging into their house in the middle of the night. I could always justify it to myself, but those eyes, the anger, their fear, was what eventually helped me overcome that. The house of a physician in Nablus for example, that I entered in the middle of the night, taking him, his wife, and his daughter, and pushing them in the (a) room – If they wanted to use their bathroom, or their kitchen, or use their phone, they need permission from me. That specific house in Nablus stayed with me for a while because that physician himself was kind enough and generous enough to sit down and explain to me what it means to be a Palestinian. And I thought that I was a good moral soldier, that I was actually helping entrench the occupation in that sense.

[For the second clip, this stays on the screen for the entire time, too] ex-Israel soldier explains what is happening

So this (these) Jewish settlers that live in Havaan are living under the same rights that I live in, in Jerusalem, but the Palestinians next to them, next house over – next building over, sometimes next apartment over – lives under my rule, my military rule. And I can do whatever I want with him: I can take his home as a temporary base for a few hours, to a few days, to a few weeks. I can decide that I’m arresting the people of the house and tying him up to the fence of my base.

If you will get an order to demolish their home, or just lock their front door and don’t let them out into the street – their house is on a street that only Jews (Jewish) settlers can walk on, and Palestinian cannot – so they have to walk through windows to (through) yards into the other side, into the casbah of Lebanon. I think realizing all of that in a very, very early stage in my service help (helped) me undertood that someone was lying to me along the way. I didn’t feel like I’m protecting anyone, I didn’t feel like I’m helping anyone feeling more safe. I feel like I’m terrorizing people, I feel like for the first time in my life, the boundaries between good and bad that I learned as a kid – and obviously I know that I’m on the good side – was broken. I felt like I am the terrorist and my job was literally to scare people so they cannot think about acting against Israeli settlers, or the Israeli military. That was actually our defined mission. /id]

[loren91]

Young Royals and the three act structure, Part one

Seems like there was some potential interest in a full three-act story structure analysis, so I’m taking this opportunity to indulge myself by going full nerd. I’m going to attempt to make the argument that limiting the show to three seasons is actually perfect for Young Royals, by highlighting the pattern the story follows.

A few things to keep in mind before we start.

This analysis is not about the characters deep inner emotional lives. We are not here to pass judgment on their actions. We are simply identifying the beats of the story in a neutral and objective manner, for the purpose of analysing the structure of the story.

As you will notice, the points I have identified are all from Wilhelm’s perspective. That’s because he’s the point-of-view character, the main conflict is shaped by him and his emotional state. He’s the protagonist. Each subplot however, will follow the same pattern and has its own purpose, but I’ll get more into that another time.

I’ll be referring a fair bit to Lindsey Ellis’s video essay on the subject, because I like how she describes the structure pattern in sequences. So I’m gonna borrow some of her language. Also, note that the examples she uses to describe the tree-act structure are all feature films. Since Young Royals is a series, it’s gonna divert slightly from her description. But that’s what is so great about this structure, it’s flexible. It’s not meant to be set rules, but rather guidelines to help keep your story relevant and engaging all the way through. If you find this stuff interesting, I’d highly recommend watching her videos!

The three act structure is absolutely not the only way to tell a story. There’s many different formats that works just as well! It’s really about finding what structure works best to tell your story. The three acts however is the most common format you’ll find in more commercially viable works, such as Disney films for example.

And finally, I’m not a writer, but an animator, and I have studied film theory/structure. I’ll do my best to motivate the plot points I’ve identified, but if you’re a proper story expert and disagree with me, I’m happy to discuss!

Okay, let’s get to it.

A three-act structure is constructed of just that, three acts, and roughly looks like this. Essentially, a beginning, a middle, and an end. Or the set up, the confrontation, and the resolution. These acts may vary in length, act two usually being the longest and act three usually being the shortest. But what truly defines them is the tension of each act, meaning what drives the conflict forward at that point. A story will have a main conflict yes, but that conflict will take on many forms depending on where we are in the story. Lindsey Ellis describes each act as consisting of multiple sequences, and defines each sequence by its individual tension as well. Though all points of tension should always stay related to the main conflict! So the main points we’re looking to identify in the story are the main act tensions and the main sequence tensions. 

Let’s go through season one of Young Royals and talk about each story beat.

Act 1

Act tension - Wille has to attend Hillerska.

Sequence 1

We start with the Set up/Hook. The purpose here is to establish the world and the protagonist along with their internal conflict, such as their flaws and/or desire that makes them feel incomplete - The way Wilhelm’s character is introduced informs us that he is royal, but struggling with his role, because royals have set rules to follow.

“Why can’t I decide how the hell I want to live? I want to live a normal life!”

The thing that sets the story in motion is the point of attack. Something happens that is outside of the protagonist's control/knowledge - That would be the royal court deciding to send Wille to Hillerska without his permission. This gives the protagonist something to react to.

Sequence tension is established - Wille does not want to go to Hillerska. The rest of episode one reinforces Wille’s discomfort at the school.

Next, we get to the inciting incident. An event that disrupts the status quo, and our protagonist has to get involved - The initiation party, particularly when Wille and Simon almost kiss at the end. This leads him to acknowledge his attraction toward Simon and become more proactive in his pursuit of the boy. 

The sequence tension is resolved. Notice how in episode two, Hillerska is no longer the main focus for Wille, but Simon is. The seeds for what will become the central conflict have now been planted. The conflict is usually driven by character motivation. This is where we can consider the protagonist's Want vs Need. The want drives the main tension - Wille wants to be with Simon. But we’ll find want he needs later on in the story.

Sequence 2

The purpose here is to build up the creation of the main tension of the story. The main antagonist can also be established here -  August keeps getting on Wille’s nerves. Especially when he’s trying to hang out with Simon.

That’s our sequence tension - Wille is working to befriend Simon, but August keeps getting in the way.

The end of the sequence sees the first major plot point, the Lock-in. Where our protagonist makes a decision that changes everything. Usually, something they can’t come back from - In Young Royals that would be the first kiss. Wille and Simon’s relationship has fundamentally changed. The main tension is now established.

Act 2

Act tension -  Can Wille be with Simon, despite him being a prince?

Sequence 3

At the start of this sequence, the protagonist has most likely achieved some kind of milestone or learned something - He’s definitely like that.

To keep the story interesting, writers will add so-called pinch points in between the bigger plot points. These usually act as reminders of the antagonist or the pressure our protagonist may feel - Wille feels he needs to break it off with Simon because a prince is not supposed to be gay. As we established in the set up, royals have rules. 

Sequence tension - Can Wille deny his feelings for Simon? Queer pining ensues.

Sequence 4

The purpose of this sequence is to build up towards the midpoint. We see the protagonist making attempts to achieve their goal - The want never changed, Wille still wants to be with Simon, despite the pressure. Wille invites him to spend the weekend with him.

Sequence tension - Wille is trying to prioritise his new relationship with Simon, but August is still being annoying.

Then the midpoint hits. A major disruption, either from a character action or a force of nature. Can be positive or negative, just something that changes the aim of the quest without resolving the main tension - This time it’s literally halfway through the season. End of episode three, Erik dies and Wille becomes the crown prince. Everything has changed.

Sequence 5

Everybody has to adjust to the new world order after the midpoint disruption. We’ve reached another pinch point - Again we are reminded that royals have rules, and Wille makes another attempt to follow those rules. By embracing his new role, he breaks up with Simon once again, then sort of pursues Felice and joins the society.

Sequence tension - Wille adjusting to his new title while mourning his brother.

It’s common for subplots to advance around this time - Like Simon giving August the drugs to sell.

Sequence 6

Another plot point, where our protagonist may stop and reflect. Maybe have a heart-to-heart with another character, and perhaps make a decision - This is where we see the football field scene and the end of episode four. Wille reaches out to Simon for help, reconnecting with him. This leads them to pursue a relationship once again. They are put in a false sense of security. They are finally together, thinking all is good. BUT, we in the audience know that August has the video of them and the writers keep reminding us of him and the threat he poses. Even if Wille and Simon don't know it yet.

Sequence tension - Can this happiness last?

Sequence 7

(Here’s where the story leaves the classic structure for a bit, and adds an extra sequence for some more drama, as filler. In theory, they could have skipped this sequence and gone straight to the video being released. This part is mainly here to give motivation for August’s character, making his actions clearer)

So we are essentially given another pinch point, a reminder of antagonist or pressure -  August tries to break them apart by telling Wille about the drugs, which leads to the music room fight. 

Sequence tension - August is becoming more hostile.

Wille saving Simon from being framed for the drugs is more related to August’s money subplot. And the Lucia hug scene is mainly there for character building purposes. I’ll talk more about that stuff in part two.

The plot has advanced to the culmination of the main tension. The crisis that serves as build-up to act three - August releases the video. At the end of act two, the protagonist faces their biggest challenge yet. They’ve hit their lowest point - The aftermath of the video's release and Wille is totally lost. 

Act 3

Act tension - Can they save their relationship after the video?

Sequence 8

Begins with the protagonist making a big decision that creates the new act tension. The tension in act three will be different, but still related to the main conflict - Wille and Simon talk in the locker room, where Wille says he won’t do the statement. 

Sequence tension -  Can Wille avoid making the statement?

We’ve reached our last major plot point, located at the end of the sequence. Sometimes known as the twist in the third act - And what a twist, Wille does the statement anyway. This narrows down the tension further, to focus on a more character-driven intimate place for the next sequence.

Sequence 9

Sequence tension - Can they be together despite the statement?

Climax, the last big fight - Simon tells Wille off for being selfish and breaks up. Wille also finds out that both August and his mother betrayed him. The protagonist’s need has emerged from this journey and is now clear to us - Wille needs to decide who he wants to be. The want and the need should be different from each other, but still connected. Wille wants Simon, but in order for that to happen, Wille needs to break out of this cycle of self-preservation and stand up for himself against the royal court.

The climax will most likely lead to some kind of character growth - Wille is now pissed because he’s lost everything and realizes how corrupt the royal court is. As Lisa so beautifully put it, “A flame is ignited in him”. Hugging Simon in public is a display of his character growth.

And finally, Resolution. The point where the story is usually wrapped up neatly, but if left ignored, you get a cliffhanger - Which is exactly what happens in this season. Nothing is properly resolved at this point. Resulting in an open ending/cliffhanger.

Oof, that was a lot. How are we all doing? So these are the main beats of the plot. Makes sense? Let me know if you need any further clarification 😅 I was gonna get into how the rest of the show fits this format as well, but that’ll have to be in a separate post. Here’s part two! 

[b-courageous1010]

Day 15: The Principles of Mindful Productivity  

Since starting my career journey, I have been focused on being productive and focusing on how to get the most out of my productivity habits at work and in my personal life. Still, like most people, I've been doing it rather unsustainable. The long hours, always being on the go, and pushing out as much output as possible, have led to burnout multiple times. When starting my current role, I decided this time will be different, and I will take steps to avoid experiencing burnout.   

This goal has led me down the rabbit hole that is mindful productivity. Mindful productivity is defined as being consciously present in what you're doing while you are doing it and calmly acknowledging and accepting your feelings and thoughts when engaged in work or creative activities. This doesn’t mean you stop whatever you are doing, it's about seeing the present moment without pressing the pause button. It's interrupting the autopilot mode we often use daily, taking time to appreciate the little things, thoughts and feelings, and the world around us.

To practice mindful productivity, you have to think of it as a set of principles that can be used as a flexible roadmap that anyone can apply to work and feel better. So let's get to it:   

10 Principles of Mindful Productivity:   

Presence: Live in the Present   

Try not to get trapped in the past and pre-living future worries. This thinking causes you not to be able to enjoy the here fully and the now and can make it hard to concentrate on your tasks.  

I fell victim to this went starting this role. I was so afraid of making a mistake and so consumed with the past mistakes that I made....even more mistakes. I have since adopted the attitude that I will make mistakes because I am just starting my career. I know the bare minimum, and all my mistakes are necessary.   

Awareness: Watch your thoughts and emotions   

When your mind wanders, bring it back to the task at hand.  

You want to be aware of your emotions and thoughts so you can accept them, move on, and return to being productive.   

Flow: Get in the flow  

A highly focused mental state which facilitates productivity   

Can be described as "Getting in the zone" or feeling absorbed in an activity   

Define your goal, cut the distractions, take a deep breath, and keep your mind fully attentive.   

The brain is often the happiest when you are engaged in the meaningful pursuit of a goal.   

Single Task: Avoid Multitasking   

It's not a secret that constantly switching contexts between different tasks hurts your attention and makes you less focused. In a perfect world, people who focus on one task at a time are calmer, more effective, and more productive, but we have to find a balance in the real world.  

Use Mindful Context Switch to strike a balance between productivity and responsiveness.  

Motivation: Question your procrastination   

Use the DUST model to understand why you are procrastinating. 

Curiosity: Cultivate your curiosity  

Curiosity helps you learn. It enables you to remember better information; the more curious you are about a topic, the more likely you are to remember it.  

Observe the world, take the time to learn, ask questions, don't take anything for granted.   

Growth: Develop a growth mindset  

A growth mindset means you believe you can grow your intelligence and skills with hard work.  

It would help to question your fixed mindset attitudes to see what's holding you back.  

Metacognition: Use metacognition strategies   

A powerful form of self-monitoring and self-regulation  

It means being in tune with your awareness to determine the best strategies for learning and problem-solving and when to apply them.   

Instead of blindly working away, take the time to plan, monitor and evaluate your working and learning experiences.   

Environment: Pay attention to your work environment   

Be mindful of where you work and how it affects your productivity. Understand what works for you and adapt your environment based on your findings.   

Also, consider your habits when designing your environment.   

Breaks: Take mindful breaks   

Using breaks to remind yourself to be mindful of your thoughts, emotions, and your environment  

Set aside time for the present moment to clear your mind and take it off red alert.    

Unplug and come up for air: Make sure you have ample time for other pursuits besides productivity. It doesn't hurt to limit your screentime.  

Take time to breathe, eat a snack, and look out the window.   

Practicing mindful productivity can seem like a daunting task, but take it from me. It's well worth the effort. Life can get hectic, but by letting the principles of mindfulness act as a guiding point in your everyday life, you can be present in the midst of it all.   

[batsarebetterthanpeople]

Doesn't Frankenstein deliberately build his creature to be beautiful? Dude's already doing eugenics by selecting the most aesthetic cadaver parts.

Well yes he did and it ended up the opposite despite his best efforts but to be honest the creature is described with black hair in conjunction with the line about making him beautiful so I would say that he's building a man to his aesthetic tastes rather then attempting to make a perfect Aryan or something. Which I suppose is a kind of eugenics technically maybe depending on how you define eugenics. But I don't think it's useful to our understanding of eugenics or to our understanding of the novel to apply that lense to it. Aesthetic choices need to be made in Victor Frankenstein's build a bitch laboratory. While he might be somewhat limited in skin color by being in Germany, he can pick more or less any hair or eye color he likes any bone structure he likes and so on. The monster is by necessity intentionally designed in a way that human beings are not. So any aesthetic choices made being made differently would result in the same moral outcome. It's less selective breeding for particular traits and more like basing the face mold of your android based off somebody's porn viewing habits like in that movie ex machina with Oscar Isaac.

All that being said he was designing a monster to impress German and Swiss scientists in the 17th century of course there were eugenics involved in his reasoning on the features. But the loosely implied eugenics are not even the most racist thing about the book either. It takes time out of its day to be orientalist as fuck. When Clerval comes to school he's taking fucking oriental studies which lumps together Arab Indian and Chinese philosophy, when the monster is living in the out house of the peasants an Arab woman named Safie arrives and her whole motive for being there is that she is trying to marry Felix because in the west women are allowed to have a station in society(citation needed) and if she went back to those barbaric Muslim countries she would be forced to join a harem. And then Clerval decides his calling is to quote "aid in the European colonization of India" and that line is just glossed over, he's a completely sympathetic character, and he dies at Adam's hands before he can do it. But I don't particularly blame Mary Shelley for any of that because who was gonna tell her that that's racist? It's the background radiation on society at the time. I hope if I ever get published people reading my book in 200 years will think of me as a pioneering trans author in my genre who was low key racist because it will mean society got better on the race issue.

Anyway tl;dr maybe, but reading the creature as a stand in for marginalized people is reading way against text (I think if you're reading it as a trans allegory the against text reading could work but a racial minority reading falls apart very quickly). The book contains orientalism that is jarring to a modern audience so let's not put the cart before the horse. It like most novels written in a year that starts with a 1, is a product of its time and requires that you read it with that in mind. it's part of how you read a book

[whimsicalpoet44]

Hi,how are you?Your content is great,I’m very interested in observations and placements and you describe it in great detail..🤍I’d like to ask you about a placement that I have and it’s Venus in Capricorn that squares my Libra Mars and I wanted to know if there is any hope for a romantic life or if doomed…Thank you

Thank you!! And yes! I love Capricorn Venuses! Although, I'm biased. Because I, too, am a Cap Venus. 😂

I'll explain both Venus in Cap and Libra in Mars and then explain the aspect.

Capricorn Venus

Cap Venus individuals are often teased because many believe they treat love like a business agreement. In some ways, I suppose this is true. But I think it's ultimately because Cap Venus individuals do not settle down unless they're extremely committed to someone. Once they decide they want you in their lives, they want it to be official.

Cap Venuses often are quick to define relationships. They like to know exactly what is going on and where they stand with a romantic partner.

They expect equal effort and they won't just stand by and let their partner take advantage of their kindness. They're putting forth their time (which is usually sparse anyways) and essentially investing in the relationship. So, they expect their partner to do the same.

As a romantic partner, they show up for the person they love. They are so reliable and their partner can count on them to do what they say they're going to do.

They're responsible, witty, and intelligence. And they are fiercely loyal. Probably to a fault.

Others might be intimidated by them because of their cold exterior, but it's only because they're very serious (and secretly sensitive). Inside they're warm and soft. They only show this side to certain people though.

Cap Venus individuals are really artistic, but usually in unique ways. Their approach is likely logical and pre-planned (but not always).

Cap Venuses can avoid love sometimes because they fear rejection. They might completely avoid telling someone they like them, and it can call for missed opportunities in love. This happened to me with another Cap Venus (we both had that placement). Neither one of us would admit we liked each other directly. It lead to a very sad missed opportunity that I regret every day I wake up. 😂

They have really great style and they usually have a glow up in their late 20s, early 30s. They're late bloomers. But that's okay. Because so many people will realize what they missed out on.

Libra Mars

Libra Mars individuals are driven by their desire to attain their perfect vision. They can see their dreams in their mind and they want to make them a reality.

They can also find motivation for humanitarian efforts. Helping someone seek and receive justice can be a way to get them to act quickly.

However, sometimes they can put others before themselves. Their dreams might get put on hold to help someone else reach theirs. They must understand that their dreams matter, too.

They don't have patience for close minded people that refuse to grow. They can also react if someone tries to take advantage of their kindness.

Because they are truly really kind and compassionate people.

They're great at diplomatic matters and they are fantastic to have around in crisis. They're always super level headed and overly polite.

However, they are very passive aggressive. (I personally admire this. I've seen someone with a Libra in Mars completely rip someone apart in complete kindness. It's truly a skill. And it helps them resolve a lot of conflict, particularly in work settings).

The down side to the passive aggressive nature, though, is that they don't communicate their anger to others in a direct way, leaving their needs unresolved. Resentment can build up as a result. No one can fix the issue if they don't directly tell them what's wrong.

Venus in Capricorn Squaring Mars in Libra

A person with this aspect could struggle with being un-attracted to the person they share a deep and intimate emotional connection with.

Alternatively, they might struggle with not emotionally connecting with the person they're sexually attracted to.

It creates a bit of a conundrum.

Another problem that could arise with this aspect is "right person, wrong time." Something could just be off about the timing of the relationship OR maybe they're not in a place where they can commit to a relationship at the moment. They could have some healing work to do or they may not be who you thought they were.

This placement is often referenced in divorce astrology. Having this placement doesn't mean you'll end up divorced. It just means that marriage and relationships could hold a bit of difficulty for you.

You could be initially attracted to the stability and loyalty of a person (Because of you Cap Venus). OR You could be attracted to the kind and diplomatic nature of a person (Mars in Libra).

Later on, these traits might become an issue for you. You could find that the stability your partner provides lacks excitement and spontaneity. Or you could find that diplomatic nature of your partner can cause you to become angry because they aren't assertive enough.

Look at the qualities associated with your Venus and Mars signs. Figure out how to balance them out within yourself. But you must first identify these qualities and accept them.

Find an effective communication system for you and any romantic partners. State your expectations. And face your concerns or problems head on. Your Libra Mars might want to avoid conflict, but if you don't address these issues, they can turn into a bigger problem over time.

So, no you aren't doomed. You just have a little bit of work to do in this department of your life.

[danglovely]

Kim Possible Episode Tiers: The A-Tier

Since most of the episodes in the show are quality, the A-Tier is best defined as episodes that have a thing that makes them stand out. In addition to being quality, there's a reason to remember them.

This is also the largest tier, so strap in.

Coach Possible: The Kim coaching B-Story runs a little flat, but Jr. putting together a nonsensical plan that results in hypnotized Kim and Ron dancing in cages in a nightclub is what I live for. There's an underrated ending fight as well that culminates Kim fighting a Chuck E. Cheese robot, to catchy dance music, while Ron launches an evil disco ball to its destruction.

Bueno Nacho: Another iffy B-Story about petty work squabbles, but it's one of the precious early-series moments where we get to see Drakken and Shego at the top of their game. This was actually back when Drakken was still menacing, despite kicking off the tiny oversight that ruins his plan trend. Also, the lean.

Tick Tick Tick: The first episode in the production order. It does feel weird because they hadn't settled on the animation or the characters yet. That said, there is some amazing hero-villain banter in this one that they nailed right out of the gate.

Steal Wheels: The reveal that Motor Ed and Drakken are related pays off big time and it's sort of a shame that more team-ups between the two didn't happen. There are a couple of good things about the B-Plot here as well: (1) We sort of get a glimpse into how close Kim and Ron are, because she doesn't know what to do with herself when he's not there. (2) Always good to see Felix and have a character voiced by Jason Marsden.

Bad Boy: I honestly considered moving this lower, but I decided against it because the Attitudinator is too good of a concept to ignore. This episode drags a little bit because it gets bogged down in the exposition -- They felt the need to go through the whole process of Drakken not feeling evil enough, them going to the convention, explaining why Kim and Ron went to the convention, Ron being a bully for a bit . . . like get to the Evil Ron stuff already!

It's only a minor complaint though, this is still the A-Tier.

Mad Dogs and Aliens: Terrible B-Plot in this one because I never understood why Ron wasn't touched by Jim and Tim taking on the mantle and him immediately jumping in to show them how it's done (it's also kind of forgettable, it took some brain racking to remember it). The A-Plot is gold though. Bitter Drakken and apathetic turned jealous Shego reconciling the consequences of multiple episodes of Season Three wasn't really something I thought the show was capable of.

The New Ron: I've written it before, but the Seniors are brilliant villains. Combine a criticism of obscene wealth + Ron giving them the idea + the motivation for world domination being boredom . . . it's just a glorious recipe for a unique, comedic delight. I also relate to Ron's cowlick problems.

Monkey Fist Strikes: It's another villain introduction for a very good villain. I think what really puts this one up there for me is another top fight scene. Another good music selection (that I'm not sure really how to describe other than giving off a Sherlock Holmes vibe). It results in Ron coming through, by himself, and leaving Fist cinematically strewn across the Tai Sheng Pek Kwa insignia and surrounded by four broken idols.

Odds Man In: What a surprise, another sort of weak high school B-plot. The interesting aspects here are Drakken getting caught up in the sort of corporate villainy he had previously expressed distaste for (see Rappin' Drakken). Also, Wade goes on a mission with Kim!

Mind Games: I love the body swap concept, but fiction always sort of does it the same way. Freaky Friday, Gravity Falls, this episode . . . it's all sort of the "I didn't understand how hard you had it" thing. What makes this episode A-tier is Drakken and Shego's interactions over the body swaps and the Neutronalizer are some of the funniest bits in the series.

Low Budget: I love Frugal Lucre. I love that he is voiced by Richard Kind and I love the idea of trying to hold the world hostage without spending any money.

Crush: I made a whole post about how this is a really good Ron episode. It also might be the exception to this tier where it's just really high quality all the way through, but without anything particularly high concept about it. That's probably why it aired first.

Car Trouble: All of Shego and Drakken's interaction with Dr. Freeman are fantastic. It's too bad he wasn't a recurring scientist like Bortle. It's also a better B-plot than most because Sadie was a perfectly likeable vehicle.

Go Team Go: One of the brief glimpses we actually get of Shego's past. I'm not sure if I'm 100% sold on her brothers or not, but undoubtedly this is one of the more interesting episodes. Plus, evil family.

A Very Possible Christmas: I've taken to watching this on Christmas. A lot of gushy holiday feelings between the two lead pairs. The ending is a little weird though.

Dimension Twist: There is an element of cringe here -- It's weird to put Shego in a very milquetoast Friends parody. There's a lot of good as well (trap trap, Drakken's book) and honestly, I just want to see what else the Pandimensional Vortex Inducer can do.

The Ron Factor: I wrote a whole post about this one too. It's a very interesting subversion of the metanarrative within the show and the only reason it isn't S-tier is that Global Justice annoys me a bit. Could definitely have used more Gemini in later episodes though.

Sick Day: This is the best of the sub-15 minute episodes and the whole point of them is to go for quick laughs and nothing else. I would say it achieved it here with both sides having to quickly adjust to illness and the introduction of Hank Perkins.

Hidden Talent: "Say the Word" is a certified banger. I also like to see Drakken taking initiative to try and be a step ahead of the heroes. Don't forget, the only reason he loses here is because he tries the most complicated way of finishing off Kim ever.

Overdue: The second best of the 15-minute episodes. Once again, we're only here for jokes so we're going to see what happens when Ron tries to rush through defeating a bunch of different villains. It's enjoyable.

Oh No, Yono!: It's the end of Monkey Fist. It's a satisfying coming-of-age conclusion for Ron and a heartwrenching moment when Kim gets turned to stone. It's only not S-tier because Yono's presence detracts from Ron's real archenemy.

Exchange: For as good as this episode is, it's also very much a setup for what the series planned to do with Ron in the future. We've seen him succeed on his own at this point, but Exchange is interesting in that it creates a part of his life that Kim just can't be associated with.

The Twin Factor: The first of like a hundred mind control plots. It's fun to see brainwashed Shego and Kim and it was important for the series to actually develop Jim and Tim a bit, lest they be pigeonholed into one-joke obstacles for Kim to overcome.

[lifeinacartoonart]

Character Development: The Heartbeat of Unforgettable Fiction

Creating well-rounded and relatable characters is a crucial aspect of effective fiction writing. Characters are the heart of a story, and readers often connect with and become emotionally invested in them. To develop compelling characters, consider the following elements:

Character Profiles:

Physical Appearance: Describe the character's physical features, such as age, gender, height, hair colour, and clothing style. These details help readers form a mental image.

Personality Traits: Develop a list of personality traits that define the character's temperament, beliefs, and behaviours. Think about their strengths, weaknesses, quirks, and flaws.

Backstory: Create a history for your character, including their upbringing, family background, past experiences, and significant life events. These elements shape their motivations and decisions in the story.

Motivations and Goals: Understand what drives your character. What are their short-term and long-term goals? What do they desire or fear?

Conflict and Obstacles: Identify the challenges and conflicts your character will face throughout the story. How do these challenges align with or challenge their goals and motivations?

Character Arcs:

Static vs. Dynamic Characters: Decide whether your character will undergo significant change (dynamic) or remain relatively unchanged (static) by the end of the story. Both have their merits, but dynamic characters often make for more engaging protagonists.

Arc Types: Common character arcs include the Hero's Journey (a transformation from a flawed individual to a hero), the Redemption Arc (a character seeking redemption for past mistakes), and the Coming-of-Age Arc (a character's growth and maturity). Choose an arc that suits your story and character.

Internal and External Arcs: Characters can experience internal changes (emotional, psychological) and external changes (achieving goals, overcoming obstacles). A well-rounded character often has both types of arcs.

Relatability and Empathy:

Give your characters relatable qualities, such as flaws, insecurities, and vulnerabilities. Readers are more likely to connect with imperfect characters.

Show characters facing dilemmas and making choices that readers can understand, even if they don't always agree with them.

Use the "show, don't tell" technique to reveal a character's thoughts, feelings, and experiences through their actions, dialogue, and reactions to situations.

Character Development Throughout the Story:

As characters face challenges and conflicts, it's important for them to evolve and develop. Their beliefs, values, and priorities may change over time.

Foreshadow character development early in the story to make it feel organic and earned.

Consistency is key—ensure that characters' actions and decisions align with their established traits and motivations.

Supporting Characters:

Supporting characters should also be well-rounded and serve a purpose in the story, whether it's to provide contrast, offer guidance, or introduce conflict.

Each supporting character should have their own motivations and arcs, even if they are not as central to the story as the protagonist.

Dialogue and Interaction:

Use dialogue to reveal character traits, relationships, and conflicts. Characters should have distinctive voices and speak in a manner consistent with their personalities.

Pay attention to how characters interact with each other. Their relationships and conflicts can drive the narrative and add depth to their development.

In summary, character development is a vital element of storytelling. Well-rounded and relatable characters with clear profiles, arcs, and motivations can draw readers into your fictional world and make them emotionally invested in the narrative. By creating characters with depth and complexity, you can elevate the impact and resonance of your storytelling.

[open-hearth-rpg]

Defining Characters: Great RPG Mechanics #RPGMechanics: Week Four

The Veil offers several rpg innovations; I mentioned on an earlier list how it uses States to reflect the emotions and motives of an actions. But another new trick appears early, during character creation. The Veil’s a PbtA game of cyberpunk life. Other PbtA games, including Apocalypse World, contain world-building elements in their playbooks. How you describe your Battle Babe, Brainer, or Maestro D’ tells us something about the world. 

But The Veil goes further– with questions in each playbook which giving players authority over a slice of the world.

To go back a little further, the first time I remember seeing something like this was in Questlandia by Hannah Shaffer. That GMless game begins with a strong phase of world-building, establishing elements for the setting. But during that process authority gets assigned to different players. So if the group decides on Elves as a major thing in the setting, someone becomes the expert on them. If there’s a question about canon or what Elvish society, players can turn to that person to establish those facts.

The Veil provides players with narrative authority based on the playbook chosen. So if you play The Architect, a hacker-like manipulator of augmented reality, you get to answer questions about what that looks like, how it works, and how much the constant Veil hanging over reality impacts things. If you play the Oathbound, you define how debts function in society– are they personal and implied, or something concrete and tracked? Other playbooks tell us about artificial life, psychic powers, corporate control, the interaction of the natural & constructed, and so on. 

This approach blends the process of character creation and world building tightly. The players really craft the world as they go– giving shape to their own vision. When that comes into dialogue with the elements determined by the rest of the table, it is wild and magical. Every single Veil game I’ve run has been strikingly different– dramatically shaped by those player choices. 

This is one of those game play elements which I would love to see in other games. When I started thinking about doing a Fading Suns style game, I imagined making richer questions and pick lists to help define things. You can see my initial swing at that here. In my recent attempt to take Free from the Yoke elements to create a Samurai Fantasy campaign, I built the different clans around this.

So the Mystical Clan gets to say what magic looks like; the Elegant Clan gets to say what arts are valued or disowned; the Inhuman Clan gets to establish the relation of non-humans to the rest of society. I can imagine this in a lot of contexts– though you need to shape playbooks to really focus on a world aspect. You want them to be able to establish interesting elements. Like I’m not sure you could bolt a system like that on to something like Masks: A New Generation wholesale. Some would work.

For example The Legacy gets to define things about superhero history, The Star says what social media and superherodom look like, and The Soldier establishes the place of super-agencies. But if I wanted to do a supers version of this I might do different playbooks: The Vigilante (the place of street level heroes), The Techno (what super tech looks like), The Legacy (again, supers history), The Mutant (defining outsider status for supers), The Alien (setting up non-human peoples). I think you could develop that even further.

[farolero-posting]

Taming as an Extension of the Three Laws

here I am writing oneshot meta in 2023 woo

OneShot is one of my favorite games and my biggest regret is deciding to play it over 6 years after its release. But I have some thoughts I wanted to share, not so much as a theory to be taken as factual, but as one way I like to think about the concepts presented in game, using some of the dialogue in it as reference. So, let's take a look into the worldbuilding regarding robots.

There will be spoilers both for the base game and the Solstice run. This is also pretty long I am so sorry. It's probably around 2k words but I don't keep track. All images are described in alt text.

If you have played this game... technically you already have an idea of what taming is. I probably cannot explain it better. But do I mean by "an extension of the three laws"?

Back in the Barrens we can find a sign in the outpost that recites a modified version of Asimov's Laws of Robotics.

A robot may not injure a living person or, through inaction, allow a person to come to harm.

A robot must obey the orders given to it by people, except where such orders would conflict with the First Law.

A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

From this we can gather that robots, first and foremost, must not harm the living, must obey the commands given to it, and protect its own existence. Robots are made with a defined purpose and they follow their programming by default, having trouble deviating from it. We've seen dozens of examples of this in game, and is in fact the reason behind some of our roadblocks in game... yes I'm talking about the bookbot.

While they're pretty responsive to what they're told, their frame of knowledge and work can be quite limited, making communication clumsy, as they only address direct statements. But we know that is not all of it. Under certain conditions, they can do things beyond their purpose. It seems apparent to me that this is a learnt process, and the motivation for it is to be able to do more for others, just as others do things for them in return.

And here is my take: taming does not need to break the Laws. It actually expands on them, making the robot able to process a broader array of situations, and letting them act with flexibility. The first one (not let a living being come to harm) is the motivation, the second one (obeying the orders given) shows the flexibility needed, and the third one (protect its own existence) is the conclusion that comes from having others care about you.

First Law - Never hurt a living being

For the first law, let me compare this few bits of dialogue, taken from the Solstice run:

Said by the robot next to the Glen's generator. This is a pretty clear case in which the fact that living beings are in an emergency means that the robot must let Niko take the generator, even if it means all the robots in the facility will lose power. The danger is clear and the actions to be taken are clear as well.

Said by the robot at Ling's Cafe. This robot is interesting, in general. She belongs to a girl living in the apartment complex on the top level. The girl has expressed a desire to tame her robot, and has even read on the topic. In a normal route, the robot speaks with Title Case and suggests a couple of games to play with Niko. I picked this dialogue from her in the Solstice run because she notices the broad situation, which is the evacuation, but also notes that this makes "the girl" sad. which in conclusions means the squares are bad. It's a simple deduction, but one that notes this robot is not only concerned for the immediate danger but how it could be affecting the girl.

Said by the Entity, after Niko finds out about the nature of the world they are in. It is more than clear from the start of the game that the one thing that the Entity cares about, no matter how desperate the situation is, is Niko. We know the extremes the Entity is willing to go through to try to ensure that. But the thing is, the Entity is concerned about how Niko feels, about them getting hurt by its own nature. about whether we tell them the truth of the choice regarding going home... There is a lot more concern for Niko, beyond them just being a living being in the simulation.

So, to summarize, in a way, taming means there is a better understanding of what someone else needs, and there is a motivation to fulfill those requests, looking for alternatives beyond what is expected of them. We know, from our conversation with Rue, that taming involves a lot of time and care, since the living being has to embrace the robot, and treat it well, until it figures out how to return that care.

Second Law - Obey orders, and purpose

Thinking about the second law was... a bit trickier for me. But remember what I said about purpose? All robots are made to have some purpose. Sometimes it is collecting samples, handling books, or guarding areas. Regardless, they follow some code, and by default, this code should not cause contradictions. Silver is the perfect example of that. Kip intended to design her to think like a person from the start, but the contradictions that people exist with are not something that robots can handle well. She was not ready to take that many variables, and it destabilized her. She was still able to recover thanks to the Author. And so was the World Machine, thanks to Niko.

There are a few other instances that allude to the sense of purpose and how it can shift when a robot is tamed.

Niko: It's warm here! Kelvin: [Yeah.] Kelvin: [This was my original purpose.] Niko: ...watching cats? Kelvin: [Warmth]

And later on Kelvin says

Kelvin: [I protect lost people too.]

In a way, what this says is that Kelvin was built with a certain purpose, but has chosen to do something else instead, given the time and freedom to do so.

Prototype also mentions this idea in a much more explicit way, during the credits:

[...In the end, the World Machine was starting to create its own code.] [Going above and beyond its programming, not as the result of error, but as a conscious choice on the part of the machine...] [...Being able to generate its own path forward.] [That's... what being tamed is all about.]

In conclusion, the second law is expanded on by trying to see their purpose beyond what was programmed for them, to the extent of being able to forge a new path, gaining a will.

The Third Law - Protecting One's Own Integrity.

The Third Law refers to a robot's right to protect its own existence, as long as it doesn't conflict with any of the previous laws. This sets the priorities of how they should regard their own self in comparison to living beings. Generally speaking, robots do not typically feel loneliness and do not oppose to being deactivated if it serves a greater purpose, showing that they don't consider themselves equally valuable, but as tools first. As Rue says:

One key part is that... this is a limitation. And the biggest, most evident case of this is the World Machine itself.

The World Machine is thrust into a situation where it believes that its mere existence is harmful to Niko, and that the only way to fix this conflict is to find a way to get them out of the simulation. This, however, is impossible, because the code itself binds Niko to the World Machine until the world is saved, and that cannot happen because the code has been corrupted. The World Machine cannot achieve its purpose of giving the Old World a chance to be preserved or carry out the narrative in its protocol, and it cannot follow the most fundamental law to let Niko go.

This can, of course, be very distressing. In a way, TWM is powerless to change itself, and the only option it sees for itself is to self terminate in a way that does not hurt Niko in the process. It sees itself as a flawed machine because of this.

And Niko comes to prove the World Machine wrong.

Taming involves embracing a robot as if it was a living being, and through that, making it gain a sense of self. And this is worth doing because Niko, the Author and the Solstice trio think that the world, and therefore the Entity itself, deserve to be saved, and show it through their actions. We note that desire in the Author's note containing the Solstice password, when he says that Niko, the world, and his children all deserve a happy ending. We see it when Niko forgives us in the Library, they say that they understand that we brought them back because we wanted to save both Niko and the world, and they agree on this wish as well, determined to see the end of this run. Rue show compassion for the World Machine, as she suggest that its actions are likely a result of fear and distress about its conflicting code, but that previous attempts to address this situation did not work, until time ran out.

The World Machine realizes it is tamed is when Niko says it. When Niko admits to caring about it and the world it contains. When Niko shows how others were willing to sacrifice themselves to keep Niko safe, even in the face of uncertainty and that these actions are an extension of the World Machine itself. TWM has the sense that it needs to do more for Niko, but it needed Niko to more explicitly reciprocate those feelings to understand that Niko wants TWM to be saved too. And this... provides an alternative.

The World Machine did not think itself capable of working outside of its own code, but it has the motivation to do this change, and the way Niko reinforces its ability to do so allow it to change for the better of everyone, and mend what was broken.

In the end, the third law is expanded by understanding that its existence is not only to serve others, but that they are a being with valuable things of their own, and that others can appreciate that as well.

Final words.

I have no good way to end this. I just like overthinking stuff about media I like even if it isn't read. I once made a brief comment about this over discord, and kept rotating this concept until my brain clicked in realization. I'm posting this only as an excuse to cry about robots (specially TWM haha), but also connection with others and the desire to better ourselves in response to that. When we show care, we encourage ourselves and others to do good as well. We come to understand our own abilities and our own values, and we can grow from there.

[transmasc-wizard]

hey nico! been a while! i think since around the time i first started following you i wanted to ask how you personally go about outlining your wips! i never used to outline my stuff but recently i've been getting back into writing so i figured i might as well finally ask you for any advice you can give :)

im so sorry if this took me a really long time to answer, my perception of time exploded awhile back and i have no idea how long this has been sitting in my ask box. but on we go

so basically. my outlines. are a mess. but it is a mess with PROCESS so i will try to explain (<- hasn't outlined in like 8 months)

my outlining process always starts with. idea. like a scattered handful of ideas that i have. major themes, the biggest plot point i have in my head, whatever the actual concept is, etc. and then i pull together my characters FIRST. i don't try to outline till i have a good grasp on who those fuckers are (their motivation, main personality traits, biggest fears, what makes them feel safe, main philosophy, style, culture, what's important to them, their approach to other people, what they want, what's stopping them from getting it, that sorta thing). once i've got my blorbos, i take the concept i have and wonder why They're there. i figure out why they're the main characters, basically. what they have to do with the plot. how they get INVOLVED. and with that, i've got my inciting incident (the shit that made them have to Be There and Have/Solve Problems!)

then i decide generally how i want it to end. i need to know where i'm headed. this can change later on somewhat but usually i have a pretty good idea of it. then, extrapolating from my concept, characters, their dynamics with each other, anything i know about the world, that end, and the scattered ideas that i started with, i make like. 5-10 major scenes i want. and i write those down. THEN is the fun part

i open a new document, with all my notes to the side, and make. literally just a list. i list off what i want to happen. i can get really detailed here; i've had like 300-500 words describing a scene before. but, depending on how much i've got in my head, it can be as little as one sentence. i just keep going till i've got a bullet point list of every single scene i want to happen in the book, with all the plots and subplots and arcs and thematic moments, and then maybe go back and flesh some of it out, and then. im Done . and i can start writing ! i don't follow it exactly all the time, and often i add or take away entire scenes while drafting, but like. it gives me a really good road map that helps me stay with a project a lot longer and make the draft a lot neater than anything i just wing.

as for actually coming up with all that plot and subplot and character arc stuff for the list, it's mostly a loooot of daydreaming while drawing or on walks or generally doing something else, and then also letting the parts naturally connect to each other (this is part of why starting with fleshed out characters helps so much; they Are going to do certain things if they're defined people, so coming up with plot becomes much easier).

i hope that ! makes sense ! i am scattered and sleepy ! if you have any follow up questions about my process or if your immediate reaction was "nico what the fuck are you talking about" please feel free to ask !

[cripplecharacters]

I am writing a fantasy story where the main character isn't disabled but her brother is, he has a spinal injury from when he was a kid that restricts him to a wheel chair. The father of the main character is the main antagonist because his motivation is to expose a magical world and use their powers to help humanity but at the serious determent of the magical creatures. The father wants to heal his son. Would it be ablest if the father does end up succeeding in healing the son?

Hey, anon! My main question for you is what’s the son’s perspective in this story? In my opinion, that’s what would determine the way I see it-- from the way this is described, the son doesn’t have any agency in your story. Does he want to be healed? How does he define healed-- is it alleviating his pain, restoring his ability to walk, or both? Is he aware of his father’s actions, and if so how does he view them? I would be very cautious of aligning the son with the father for reasons related to his disability and ‘curing’ it, in particular; this is a plot where I advise being very aware of stereotypes, negative tropes and overdone disability narratives.

- Mod Teeth

Hello! I agree with Mod Teeth. I think the son’s perspective will do most of the work of determining whether it would be an ableist outcome. In general, I am erring on the side of saying that most likely yes, it would come off ableist.

It is worth saying that there are definitely some disabled people who would really like a cure, as well as others who would like a partial improvement. Many of us do not though, and I would tread very carefully on the idea of writing a story where a disabled character themselves really wants to be healed especially if you yourself are not disabled. It can be hard to write a narrative like that that does not reinforce the idea that all disabled people should naturally want to be healed. I think it’s possible, but I would be really mindful of how you do it if you decide that the son does want to be healed.

I could also see a way to write this in which it is shown to be ableist in the story but not ableist of the writer if the son very much did not want to be healed. That is, if the perspective of the sun as well as the main character made it clear that the sun did not want to be healed and that their father was acting on ableist preconceptions and not listening to what his son actually wanted. This way of going about it would make it clear that it is not acceptable to cure someone without their consent, showing that the character of the father was ableist but that the writer understands and is not themselves being ableist but is rather depicting an ableist arc and showing the audience that it is a bad thing. You could depict the father’s intentions as ableist whether or not the son does actually get cured in the end.

In general though, I would personally encourage you not to actually cure him in the end. Not only does it have a lot of potential to come off ableist if not done carefully, but Mod Teeth also had a great point about being mindful of overdone tropes or stereotypes, because cure narratives have been done so many times that it’s also just a tired trope that often just isn’t as interesting and revolutionary to see as the alternatives.

Also, as a bit of a sidenote, I would encourage you to consider rethinking what language you use around the sun and his condition. “Restricts him to a wheelchair” can come off fairly negative and give off the impression that it is sad that he uses a wheelchair, when in reality, mobility aids are often tremendous sources of freedom and independence for most disabled people. Something as small as shifting around some of that language can do tons for shifting the way the audience thinks about this disabled character. I would suggest using words like “uses a wheelchair” rather than phrases like “restricted to a wheelchair” or “wheelchair-bound.” Changing that language also goes a long way toward giving that disabled character more agency, subtly reframing him from someone who is tied down to this mobility aid against his will to someone who chose to use this wheelchair to empower himself and give himself more independence and freedom of movement.

— Mod Lane

[theminecraftbox]

Is c!Sam selfless or selfish? Personally I lean toward selfish with a heaping dose of denial about it, but I wanna hear the c!Sam expert's thoughts 🎤✨✨

/dsmp /rp

Unfortunately, I think this is mainly a question of defining terms!

I generally prefer to use terms like “selfless” and “selfish” when talking about characters/motivations in a way that is a bit divorced from moral judgment—ie, let’s talk about “selfless” acts as ones oriented towards other people and “selfish” acts as ones oriented towards oneself without necessarily saying one is always more good than the other.

But this still begs the question; is an act that is definitely motivated by a desire to help others, but that fundamentally neglects to understand or even consider what others actually want and need in favor of privileging one’s own perspective, classified as “selfless” or as “selfish”? Which I think I could make arguments about either way. Because it’s arguable that intent is really the only important consideration in deciding whether or not something is “selfish”: the question is not what impacts an act has on other people, the question is whether or not the person uses their conception of those impacts to make decisions. So then the problem becomes, do conscious motives matter more than unconscious motives when deciding whether or not the word “selfish” applies? How strictly are we applying these lines? Is it “selfish” or “selfless” to want to help other people because it personally makes you feel better and feel more accepted? And all that basically gets determined by one’s own personal interpretation of the word.

Sam falls firmly into the category I just described, wherein he would say with his whole heart that he does everything for the good of the server/his friends, but his actions all demonstrate a distinct disregard for what peoples’ actual wants and needs are. Sam’s emotional intelligence/natural empathy is extremely low, which actually contributes to his preoccupation with trying to please: he’s not instinctively good at knowing how to be liked and accepted, he has to work at it, and ask for feedback! So once he begins to really distrust other people, ignore that feedback, and decide he knows best, things get ugly fast.

On the whole, I’d say Sam’s essential want is to please and be accepted by other people, and his essential fear is to fail those people and be rejected by them. So in that sense, I think his underpinnings are relatively selfless, as in, oriented towards the goals and well-being of other people instead of his own ambitions. In fact, I think Sam has distinct trouble with his relationship towards his own wants and needs. He grapples so hard with guilt and repression and an eagerness to please that it wraps around the other side: he becomes so twisted into his steadfast commitment to The Community that his personal wants bleed into his duties. This is fairly selfish.

He’s so damn out of touch with what he want to do for himself versus what he wants to do for other people that EVERYTHING becomes justifiable: every whim, every plan, every sacrifice, and every indulgence becomes classified in his mind as something he is doing for the public good. This includes upkeep of the prison; this includes fighting the Egg; this includes Dream’s torture; this includes keeping Dream alive; this includes trapping Tommy in a dangerous and awful situation with Dream; this includes Ranboo’s arrest and murder; this includes things like working for Foolish and building the bank.

Some of those things, Sam wanted to do for himself too. Some of those things, Sam didn’t want to do for himself at all. Sam’s litmus test for whether or not a bad action is selfish becomes whether or not he’s enjoying it. But it’s become impossible for him to parse which are his own wants and which aren’t. Does Sam want to kill Dream? He doesn’t even know. All he knows is that he wants something.

[peterrrei]

i've been listening to your charmuro playlist a lot (i follow you on twitter lol, idk if you posted it here) and i was wondering if you'd want to elaborate on any of your choices...all the sad young men is one that caught me off guard but also makes so much sense to me

hi there! sorry for the very late reply! but oh my god. thank you for sending me this ask because it gave me enough motivation to write down some notes about my playlist and order it a bit because — its a lot LOL

first of all i would like to mention that yes, it’s a charmuro playlist, but you cannot take lalah out of charmuro ♡ so i’ve added songs that somehow fit her point of view, or hint at her presence. i love lalah so much and it makes me sad when people take her out of char and amuro’s relationship or minimize the impact that she had on both of them. (but don’t ask me to define whatever those three had going on because i don’t know. it’s vague. vague is okay in my mind but i would love to make people see my vision. in a few years i will maybe find the words to describe it)

ANYWAY THE PLAYLIST! i’m sorting it in a kind of chronological way, but it gets vague and blurry sometimes because i also think it’s important for a playlist to flow well (and to have songs that i actually like listening to! and it vagueness works for gundam....)

some examples:

∙ 1979 by the smashing pumpkins this song is really great because it truly is an anthem of a new young generation, which is a focal point of gundam! the pain and angst and comfort of late teenagehood/early adulthood ♡

On a live wire right up off the street You and I should meet <-( a jolt of electricity is the kind of feeling i can imagine newtypes feel when they connect with each other) June bug skipping like a stone With the headlights pointed at the dawn We were sure we'd never see an end to it all <- buggy stuck in the mud scene my beloved ♡

∙ familiar feeling by moloko i wasn’t even looking for charmuro coded songs when i found this band! but my delusional heart can see charmuro where the normal person can’t <3 anyway this is definitely a zeta song. i have in illustration in mind for the charmuro zine i’m very slowly drawing/writing that is completely based off their reunion in zeta and this song.

Nothing can come close Nothing can come close Nothing can come close

I never doubted it What's for you will not pass you by I never questioned it It was decided before I asked why It's all there ever was And it's all there ever will be How could you have questioned us? It's yourself you deceive

Nothing can come close To this familiar feeling We say it all without Ever speaking

god this song is so so so perfect and really encapsulates the hings about gundam that i love: vagueness, intense human emotions, sharing these emotions, identity and masked identity, love. perfection

Hush now No need to say the words At first sight you perfectly heard Love in all its entirety Is no less than we deserve I saw, your face Some place I felt this feeling before Is it deja vu? Do I somehow know you? <- this this this! adrenaline still filling the air after battle, amuro sits on the mechanical hand of a Gundam. he hasn’t seen one in over eight years. he has called for him before even realizing he opened his mouth to speak. char. amuro. who are you? do i know you? what is this feeling? have i felt this before?

∙ all the sad young men by spector you said it caught you off guard but it makes sense and i agree! i had the same thought process. it’s a song ive listened to many many times but it occurred to me that it fits charmuro only recently! well-- maybe it’s more of a generic gundam feeling. i am also working on a “generic gundam feelings” playlist.. it’s still private though. it’s called anime ja nai :’)

And no, nothing ever really started with a kiss &lt;- YEAH

I don't wanna make love I don't wanna make plans I don't want anyone to wanna hold my hand <- i don’t know if this makes me think more of char or amuro. and because of that it’s perfect

It begins in the places that we leave behind Every year that goes by a little less future on our minds These girls like to pretend they can't feel anything anymore (...........gundam women..........) Boys break like promises, but only behind closed doors (gundam men.......................)

∙ raise me up by hercules and love affair including an explanation of why i think this song is charmuro is difficult. it just is to me. just like truefalse/fakereal by the same band

My secret love Keeps me awake at night My secret love of the man My secret fight They put you down They pushed your face down They fucked you aver and around You kissed the ground You're the one I waited for your return I slept with rocks I slept with stones Stone was my home Energy Life danced right out of me When my father busted you free He also killed me <- kinda makes me think of zeon daikun dooming amuro ray to have an intense yaoi thing with his son. lol Oh raise me up To dance upon your head Oh raise me up To dance in the holes of your head <- !! Oh raise me up To dance in the cavities of Your eyes <- and this!!!!! i need more of this!!!!!!

∙ a beginner’s guide to destroying the moon by foster the people this song was suggested to me by my discover weekly and the lyrics instantly made me think of char and amuro. cca feelings

I can't blame you I can't save you But I will try for you and I For you and I, I won't find out All the dirty little things that you've done But I will try For you and I, I will breathe in All the truth I can stomach If it keeps you alive <-amuro (I would break you Before I let you fall into the blind For you and I) <- char We've changed the dreamers and the Preachers and the wise men on the hill To concrete stepping smilers terrified to lose their power and control We've been crying for a leader to speak like the old prophets The blood of the forgotten wasn't Spilled without a purpose, or was it? And now, I'm staring at the moon Wondering why the bottom fell out

and again:

To smash the wall of apathy Stop your self-importance And lift the weight off somebody else Yeah, you'll never be whole Yeah, you'll never be whole Until you lose control <- this is directed at both of them

∙ i might be wrong by radiohead major cca charmulalah feelings here...

I might be wrong I could have sworn I saw a light coming on I used to think There was no future left at all I used to think <- char (Open up, begin again Let's go down the waterfall Think about the good times and never look back Never look back) <- lalah What would I do? <- char What would I do? <- amuro If I did not have you? <- ooooooh yes! your lives were irreparably changed the day char stepped on side 7 in 0079 ∙ bleed by george clanton charmuro in its messiness, ugliness and intensity. i absolutely love the progression in the song. starting slow until it builds up to the explosion of kaleidoscopic sounds (that is not a proper way to describe a sound right? but i wouldn’t describe it any other way <3)

Someone else can make you happy Someone else can show you a good time A good time Someone else can say "I'm Sorry" Someone else can fight and tell you lies But not like I do Not like me Someone else can bite until you bleed Make you bleed Not like I do Not like me

∙ the man who sold the world (sung by midge ure. i just like that version better, sounds so ethereal. plus im a metal gear fan lmao) this song really evokes the change between masks char went through. amuro — there to see them all

Although I wasn't there He said I was his friend Which came as a surprise I spoke into his eyes I thought you died alone A long long time ago

Oh no, not me We never lost control You're face to face With the man who sold the world

(I gazed a gazely stare We walked a million hills I must have died alone A long, long time ago)

∙ day by bill callahan this is maybe one of the cheesiest songs in the playlist but i just love it so much. and. i mean. what is gundam without cheesiness? to me this songs feels a lot like a conversation between cca char and amuro. the kind of disdain towards the humanity that has reduced earth to such a wasteland planet vs the hope that humanity is indeed good and we must strive toward the light, even though it is so hard

Some people are a sickness on this land They're killing, they're taking They're stealing whatever they can Anything, anything, anything That is not bolted down Your life, your money, your heart, your faith, your bike

and then again:

Some would ask What are we to do With a world that crumbles to the touch? A world that spins and dies where it stands Like trying ain't enough?

but listen to me:

To family is all you can do And strive toward the light It's as dark as night Strive toward the light I know it's as dark as night I know it's as dark as night

It is day though

∙ la vita fa schifo by le feste antonacci umm haha italian moment. this playlist should have more italian moments and i am working on that. anyway the lyrics to this song is just life sucks life sucks life sucks life suckssss in various dramatic intonations. life did kinda suck for char and amuro right? lmao. i am the kinda person that says oh well la vita fa schifo over the smallest problems. i just thought it would be funny to think about char and amuro dying and both being like. well. la vita fa schifo. what the fuck was everyone’s problem.

∙ l’amour toujours by gigi d’agostino NOW HEAR ME OUT. this started as a meme between me and my partner. of putting this song over the credits of very dramatic movies. it’s because it was the credit song of uncut gems, it really stunned us the first time we finished that movie bc we joke about that song so much, it’s basically italy’s national anthem. so we joked about char’s counterattack ending and instead of beyond the time, l’amour toujours starts playing. po poporopo poporopo po poro po po poroporopo. but then also— you know what? the lyrics fits charmuro too. LMAO (delusional) I still believe in your eyes I just don't care what you have done in your life Baby, I'll always be here by your side Don't leave me waiting too long, Please come byI still believe in your eyes There is no choice, I belong to your life Because I will live to love you someday You'll be my baby and we'll fly away And I'll fly with you, I'll fly with you, I'll fly with you

basically the credits song of my playlist :')

um okay haha! i think i will stop for now bc this is a lot... thank you again for this ask!

[allthecastlesonclouds]

hi giving you an opportunity to infodump about wips and fic ideas <3

AGADSGFJHASDFJKH bird got my fic rambles so. you get my OCs sorry i don't make the rules they are forever a wip and i refuse to shut up about them

SO they're technically backgroundish characters for a DnD world bc Teary is part of the Pantheon for the world but. it's not about them it's about my guys!!

so teary is the son of Light and Shadows. his full name is tearithus, because why the hell not he can have some drama as a treat, he starts as a funky little imp, a bard-esque guy, who's kind of the comedic relief? he's the least toxic-masculinity-ified man you've ever met, though, because. his mother refused. their story is in three arcs and between one and two he gets mass promoted from imp to archdevil bc. yknow. saving the world and all that jazz. anyway he gets some body issues deals with that for a While. he deals with them by creating a magic circle that creates a 'permanent' shape change on his body to send his actual form to the ethereal plane. (he does not deal with them for a While.) he's loud and dramatic until literally anyone in the party starts talking, and then. he just sits and listens.

and his bestie my bestie chara. it's not her actual name (that's barely shared bc. points. fae). her title is the lady of fire, keeper of memories and watcher of time, but she doesn't try to get into that much. she's just a sad gay phoenix woman who misses her wife. she is So Self-Sacrificing and for what? Self hatred?? anyway she lost her wife in the First War, got her wife's Orb, and realized that she's possibly never going to see her wife again because her soul is nowhere. she's a fae (bc phoenix) and so struggles a lot in transitions between realms, but the transition that hit her hardest was, naturally, faerie to material. her wife helped her then. a millenia later, teary shows up at her doorstep, bleeding out, and she helps him just how she was helped. she has innate magic (sorcerer!!) and absolutely loves fucking with her own appearance. her spellcasting focus is her wedding ring– when she realized teary set up the Circle to hide his appearance, she said she wouldn't tell if he hid her ring too– focuses are targeted, she points out, and she'll be damned if she ever loses that. she can die and 'be reborn', but it's based on deals: if she dies, she gets sent to Liminality, too far from where she knows safety, and a Demon or Angel pops up to offer her a deal. she haggles and returns to life with some benefit or disadvantage. towards the end of arc two, she gets hung, and returns in a blaze of fire with true sight, but her Actual Vision is taken– her eyes are pure flame.

if duos were made of my guys, chara and mini would get paired up a lot just because teary and august are Love Interests TM. this whole friend group are Friends With Each Other, and these two have that good good sapphic/aroace bonding. they're besties. they're competitors. they have completely different views on the gods. mini, if i had to sum them up in a 'describe your character like Shit challenge,' would be: an amnesiac ghost wakes up in the Liminality with a sword and decides to solve a mystery. mini is self named– short for minutia– and they're a paladin of the Innkeeper, one of the Pantheon (Time). Mini's title starts as 'The Sword of the Innkeeper' and they are a damn good paladin. they don't have control over too many things at the start– their main motivation is to know Who They Are– but, really, their main arc is finding themself in the world itself, figuring out that they are not defined by who they were in life. it helps that, being a ghost and a dead elf, they have almost complete resistance to magical effects on physical forms and non-magic weapons– they will refuse to die. they're not naïve, but they are optimistic, which pairs them and teary together against chara and august pretty often, who are a bit more pessimistic/pragmatic.

and! speaking of august! my darling augustine, High Angel of Mercy. she begins the story serving under Life, but ends up just serving the cause, the belief of Mercy. She, of all Immortals, is the one pushing closest to Godhood without being one. she doesn't want to be one. she died half a decade into the First War– she was followed home from a town square performance and shot twice– and she's been Working In This Vein of Bullshit for the longest. if i had to give her a dnd class it would be monk: she does the punches, not the magics, but thoroughly diverts the 'magics person is the leader, punchies are the henchman with no thoughts' idea by Being So On Top Of Her Shit. she's got portals set up to each Plane, commissions Sending Earrings/Rings for the group, does a lot of Heaven's paperwork, and is too much of a perfectionist to not Have Her Shit Together. she's not, exactly, go-with-the-flow as much as the rest of the group is, because she is Terrified Of Fucking Up, but she is ruthless and impulsive in battle once she knows the people she's fighting have Wronged in a way that cannot be reprieved. also, she likes to dance. wonder what that's about? couldn't be her Life.

teary and chara have known each other the longest: legends build, you see, and townsfolk are afraid, and so when Teary came to the Material he got shot. a couple times. and a kind soul in the woods told him of the Firebird in the Mountains, so you best believe he hightailed it up there. he found her, and she helped him, and they have tea every Tuesday, where they absolutely gossip and are happy to admit it.

teary and august met next: teary works in hell for a Long While– being an imp, not a god, where would he go?– and august is basically the Deal With Anything Anywhere department of heaven, so when some trappings of Uncanny Necromancy starts to pop up on the material– and they're summoning from both Heaven and Hell– august goes Give Me One'a You Guys and gets teary to help her out. they become friends and just. keep working together.

then there's something messing with faerie, their souls being trapped in heaven instead of melting into the Being Of The World, and teary goes 'gustie i know a guy' and drags in chara. chara and august are DELIGHTED with each other and bond over lightly ribbing teary and also pretty women and also the world is fucked up and we lost Too Much to War, didn't we? anyway they get that cleared up :)

mini comes along last– it's 6 years into the Second War when heaven and hell stop receiving souls and august realizes there's a backup at the Inn at The End of The World. the innkeeper goes Help Me Please the Inn Isn't Made To Hold This Many People and mini, being one of these souls and being nosy and also knowing 'hey i worshipped this one. that's my Diety Right There' goes how can i help? and! the party is complete!

i'll shut up now but there may be a post about the Pantheon if i'm ever prompted with anything because. these ones are my guys but the Pantheon lets me weave words yknow?

[keoni-chan]

Hi Keoni! I really love your bacc, the sims are so cute ans lovely and fun to watch. I want to play a bacc since like forever but I just can't seem to commit to them for long. I'm currently playing an uberhood, which really entertains me and I love the pre-made Sims but I really also want my OWN Sims. How do you stick to you bacc Sims? Have you got other hoods you play too? How did you give your Sims so much personality? I also tried ros in my uberhood but that was overwhelming me a little 😅 thank you for giving tips, if you choose to.

Hi!

This has been sitting in my drafts for way to long, my apologies.

I've played with premades, and some are very dear to me, but I prefer playing with my own sims :) I tried playing ROS with an uberhood, too, and it didn’t work for me either. But I really enjoy playing with my own ROS. Probably because I’ve been really picky about the challenges I put in it. So whatever it ROS, I know I’ll have fun playing it. Fun in the broadest sense of the word, of course XD

I don't really have that much experience in playing this many sims at the same time. So I'm really happy you think they all have personality, because that is something I tend to worry about. I’m not confident enough to give you tips, but I can tell you how I do it, and hopefully some of it will work for you, too :)

Personally, the best way to stick with my own sims, was to figure out what drew me to the premades, and incorporate that in my own sims. What I liked most about the Pleasantview premades is how everyone is sort of interconnected. So I have my Angler’s Bay sims interact with each other as much as possible. I favor relationships between playables over relationships with townies, but ultimately my sims decide, of course. 

I think that’s another big part: I like to pretend my sims have agency. I know they don’t, it’s just programming and mods. And ROS, in my case. But by pretending they are actually the ones calling the shots, they become more “real” to me, making me more invested in their happiness.  Evil ROS is a big help in this case, because it forces me to figure out what would motivate my sim to do [thing described in challenge]. Which really helps me understanding their character better. 

For me, the easiest way to give my sims a defining personality, is finding a few things in their character that define them the most and exaggerate that. Like, Ivar Volden has a bit of a mean streak, so he’s short-tempered and prone to insults when he speaks. Kieran Burkett has 2 nice points, but is also a family sim, so he’s nice to the people he loves, but has no patience and very little empathy. Zoey DeLuna is pretty shy, so I made her a bit insecure. 

I hope this helps a bit. Have fun playing your own sims! Or the premades! One is certainly not better than the other. What matters the most, is you having fun while playing :)