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mishacakes · 11 months

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how do you connect to your character? like how do get to know them so well? how do you pick out their likes, dislikes, habits and those itty bitty bits about them? I've been struggling to do that for sooo many of my ocs, and i'm also at a lost of how to design them. like i once had a clear idea of what kind of character they are, but i wanted to change them a bit, make them a little better, and i feel like I've lost that character and that character i'm working on doesn't exists, no matter how much i loved them and enjoyed writing an drawing them. this has happened with every single character i made and it just makes me think that i may not be cut out for drawing or writing characters. i look up to you so i thought of asking you for help

sry for the long rant idk wat im doing

HELLO HELLO THANK YOU FOR ASKING!! So basically I took this question and turned it into a 1.6k word essay on writing characters and how I like to do it, so, uh, hope you enjoy!! and hope it helps!

OK!! character writing. How do you do it? or, well, how do I do it. I’ve got a few methods that help me out the most and are the most fun for me to think about. Here’s my big secret, if it’s not fun I don’t do it. I’m not here to do homework I’m waaayyyy out of school. I’m a legal adult. I pay my taxes. I’m not gonna do something that doesn’t give my brain the good fun juice. Anyways. My methods are: symbols, archetypes, and character inspiration. I use all these to figure out the CORE of a character, their very beating heart, and most importantly, what haunts them. Everything about a character, in my opinion, comes from this core and their ghost. Their habits, their fears, their joys, their coping mechanisms. So long as you have a clear grasp on their heart, you won’t go astray. Let’s dive into it! The characters I’m going to be using to describe how I use these methods are Alice and others characters from my webcomic—namely Edith, Hatter, and Rougina—and Tomiko (you know her you love her, catgirl supreme).

Symbols! I love using symbols, they’re something that can describe a character through metaphor, even without going into detail about their whole backstory and habits. Tomiko’s symbols are lanterns (specifically light), cats, ghosts/yokai, shapeshifting, and gold. They all work to further her character as a rough around the edges monster cat with a heart of gold, who uses shapeshifting as a method (both literally and metaphorically) to mold herself into what others need her to be. Alice’s symbols are hearts, eyes, and flesh in general. Try picking one general symbol (the ocean, the forest, the city), and see how specific you can get from there. Or pick a god or goddess that resonates with your character and see what symbols are used for them. Rougina (the antagonist in my webcomic) is a war goddess fallen from grace, and is symbolized with land and volcanoes, so I’ve used volcanic plants to evoke her. Personally I also love going through the tarot for symbols, assigning a tarot card to characters (of the major arcana) is a fun exercise. Which leads us nicely into our next method:

Archetypes! The tarot deck’s Major Arcana is pretty much only archetypes. The Empress as the Mother. The Magician as the Wise Mentor. The Tower as The Worst Thing That Could Possibly Happen Oh Jesus Shit. These can help a lot with who your character is. I’m extremely storytelling oriented, so it helps me knowing What Role a character serves in the story they inhabit. Another thing I love in archetypes in the Zodiac. Yes, I am an astrology bitch. The whole reason I love talking about my methods is my Sag rising, I love giving my wisdoms. But astrology can be used for writing, and not just for excusing and not reflecting on shit behavior (can’t help being a gemini!). The zodiac is FILLED WITH ARCHETYPES!!! From elements to how they function! The four elements (you A:TLA bitches know this), and three modalities. If you’re interested please watch Eugene’s Rank King video, it’s very informative on the signs. Also many symbols! For example, Alice is a Taurus—May 4, Alice Liddell’s birthday—so she’s pretty stubborn while also loving creature comforts. Tomiko’s birthday is August 23, making her a Virgo, so she likes being precise in her work. More archetypes you can look for are DnD classes! I love using that to design costumes. One of Edith’s recent costumes is very wizard inspired, since that’s the class I see her having as she’s very studious and driven. Heck, all of Alice and the Nightmare is derived from the character archetypes of the Alice in Wonderland characters! Rougina is specifically the Red Queen, NOT the Queen of Hearts!! The confusion started with the 1951 Disney animated movie when the two characters were merged!! Lewis Carroll himself said the two were different! The Queen of Hearts is an “embodiment of ungovernable passion” and the Red Queen is “the concentrated essence of all governesses”!! GOD!!! Tim Burton meet me in the fucking pit you’ll pay for your alice crimes. anyways.

Archetypes help a lot in costumes too, figuring out what kind of fashion they’d like to wear. You can start broad and get more specific with it (like going from a wizard type character to a wizard character with steampunk themes). Fashion is just an extent of character. What are they comfy in? Are they confident in their body? What colors do they like? Bright high fashion or simple dark sweaters? Ryoko Kui is a master of character design I HIGHLY HIGHLY recommend checking out her work.

Another method I like using, specifically for Alice and the Nightmare characters, is what I call the “three trait method”. When I was in middle school we did a production of Alice in Wonderland (I was the White Knight), and too many girls auditioned for Alice. So the director’s solution was to split the character into three parts, and assigning each part to an actor. Her temper, her intelligence, and her innocence, all used in different scenes. Now I use that to think about my own Alice character, except with “polite, temper, and curious”. Edith’s keywords are “nervous, tactical, and intelligent”. Hatter’s are “kind, enthusiastic, and intuitive”. Using keywords can help figure out how they’d react in a situation, what side of them would shine the brightest. Hatter’s want to help everyone is his kindness, but overstepping his bounds can be attributed to his enthusiasm. Edith can know what path to take in a pinch, but her nervousness can freeze her in place. Reading the source material helps a lot with Alice characters too, which brings us to our final point:

Character inspiration!! The art of taking things you like and shoving them into your own characters and stories. DISCLAIMER THO!!! If you take things without really EXAMINING what about them you like, WHY you like them, and how you’d like to evoke that same love in the things you make, the interpretations can come off as shallow. (for more on this subject, watch HBomberguy’s RWBY video essay, specifically the section on “anime homework”)

Tomiko’s biggest inspirations are Izutsumi from Dungeon Meshi, April Ludgate from Parks and Rec, Power and Reze from Chainsawman, San from Princess Mononoke, and Mei from LMK. It’s a good cocktail of aloof, biting, vicious, weird, fierce, loving, and bright. Figuring out what I love about the characters and what I want to write in a character like that helps a lot in writing Tomiko. It’s also really fun in a sense for screenshot redraws and memes.

Music is also a HUUUUUUGE source of inspiration for me, I love making playlists. And even as playlists can change as characters grow and change, having a couple of core songs still helps me ground to that character’s center. For Tomiko it’s “Make Them Gold” by CHVRCHES, and “Nice Girl” by Ashnikko. Alice’s is “Headlock” by Imogen Heap and “Demons” by Hayley Kiyoko, Edith’s is “Warrior” by Kimbra, and Hatter’s is “Dementia” by Owl City.

Ok, we’ve gotten though symbols, archetypes, and made a couple of banger playlists. Next is something that can help write your character, the Big Lie. The thing that keeps them up at night. Their biggest fear, their ghost, what haunts them. What’s holding them back from their goals? What do they need to overcome? That can be as central to their theme as any symbolism. For Tomiko it’s the lie that her emotions don’t matter, only what she can do to be of service to her mother. Her arc is about overcoming her dismissing her own emotions and learning to not run away from the people who she truly cares for. Alice dismisses the literal ghost that is haunting her believing that that will let her have a normal life. Edith pushes down abilities that come naturally to her for fear that she’ll be exiled, not just from society, but the world. Rougina believes she must burden the world’s problems on her own shoulders with no one’s help. The outer character and the inner ghost can reflect, mirror, and inform each other.

Now, listen, sometimes characters are hard to get to know! Tomiko was lol. Quinn was for a looong time. And in times like this, I just, let them be. I listen to some music to get inspired, and let them tell me about themselves when they feel like it. And they will, it just take a little while. And a few dozen quick exploration drawings. But they come through. Also, try not to get bogged down with habits and little details of their character, keep their core in mind, what their heart is. Start broad and get specific. That way, if you feel like you’ve lost your way or the character feels different to you, recenter yourself at their heart and go from there. Or, if you find that their center no longer fits, don’t be afraid to change it! Characters are meant to be fun! First and foremost!! I make characters cause I like writing and storytelling, and drawing little comic for fun and me time. Sometimes characters stick around, sometimes they fall by the wayside. You really have to find what sparks joy, and chase your bliss!

So as long as you have your character’s essence in your hands, and you WANT to keep working on them and drawing them, there’s really no wrong way to go. This whole essay I’ve given is just a set of tools that works for ME, and I HIGHLY encourage you to find stuff that works for you! I really really hope that all this has made sense and isn’t just the ramblings of a madman. Good luck and happy charactering!!

#meesh blabs #misha writings #character writing #happy reading and happy writing!#THANKS FOR ASKING <3

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hayatheauthor · 1 year

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A Step-by-Step Guide to Crafting a Compelling Storyline

I'll warn you, this is a long one. I kind of took 'comprehensive guide' a little too seriously.

You have a fantastic concept burning at the edges of your imagination, a collection of characters whispering their stories to you, and a world just waiting to be explored. But how do you weave all these elements into a story that grips readers and refuses to let go? The answer lies in effective plot planning.

A well-crafted plot isn't just a sequence of events; it's a carefully orchestrated symphony that takes readers on an unforgettable ride. Whether you're an experienced writer or someone trying to start their first book, here are my personal steps to crafting a compelling storyline with good plot planning.

Step 1: Idea Generation and Conceptualization

Every great story begins with a spark of inspiration. It's that moment when an idea ignites in your mind and beckons you to explore its potential. The journey from a fleeting thought to a fully-fledged concept is an exhilarating one, and it all starts with idea generation and conceptualization.

Techniques for Idea Generation

Mind Mapping

Grab a piece of paper or use a digital tool to create a mind map. Write your central idea in the middle and branch out with related concepts, characters, themes, and settings. Mind mapping can help you visualize the connections and possibilities within your idea.

Bullet journalling

Bullet journalling is my personal favourite way to generate ideas for your WIP. Get a piece of paper or open a Word/Docs document and create three different sections: world, characters, and plot. Now add facts to each of those sections that you've come up with so far.

You can even go a step ahead and create more detailed sections, for example, you could do this for your different characters or different places in your world. Usually, one bullet point leads to the next and once you have an idea of everything you've already established you'll naturally start adding more to it.

Blurting

Talk to someone about your WIP, or pretend that you're talking to someone and write down everything that comes to mind. You can even use AI tools like ChatGPT and ask it to hold a conversation with you about your WIP. Tell it to ask you questions along the way, this will get the wheels turning and even help fill plot holes.

Prompts and Challenges

Explore writing prompts or challenges to spark your creativity. Websites, books, or even random word generators can provide the nudge you need to generate fresh ideas.

Refining Your Concept

Once you have a collection of ideas, it's time to refine and shape them into a cohesive concept.

Identify Themes

What themes or messages do you want to convey through your story? Is it a tale of redemption, the power of friendship, or the consequences of ambition? Pinpointing your core themes will guide your storytelling and also give you a clear image of the end goal.

Find Your Angle

Consider what makes your idea unique. How can you approach a familiar concept from a fresh perspective? For example, if you're doing a classic murder mystery, what makes your book different from others? Take some time to look up titles similar to your WIP and find any repetitive themes/patterns.

Maybe most murder mysteries end with the partner being the killer, or maybe the fantasy books written in the same mythology as your WIP's all involve a war. Knowing what is currently a popular trend in the market can give you a clear idea of where you can be different from comparable titles. This is especially important for genres like horror and romance.

Develop a Premise

Your premise is the foundation of your story. It's the "what if?" question that drives your narrative. For instance, "What if an ordinary high school student discovers they have the ability to control time?" You need to have a solid premise before you even think about writing your story.

Step 2: Character Development and Motivation

Characters are the beating heart of your story, and crafting them with depth and authenticity is key to creating a narrative that truly captivates. Your characters often leave more of a lasting impact on your readers than the plot itself.

Think of it this way: a good plot will get you readers, but memorable characters will get you fans. Some of the largest communities in the book space all run on the readers' fondness for certain characters rather than the story itself. Yes, your story and the way you tell it is very important, but nobody wants to listen to the story of a boring person.

Bringing Characters to Life

Personal Histories

Delve into your characters' pasts. What experiences shaped them into who they are today? A traumatic childhood or a life-changing event can influence their motivations and behaviours. Maybe your antagonist has a soft spot for single parents because their mother was the only person who cared for them. Maybe the love interest seems like a sunshine character because they feel the need to always seem put-together and perfect.

Physical Traits

This might sound obvious enough, after all a character's appearance is the first thing people think of when visualising, however, many authors fail to have a clear image of their character's physical traits which can lead to inconsistent or boring descriptions. Sure, your protagonist can have bushy hair and brown eyes, but what else?

Think about their body type, height, fashion sense, the way they carry themselves, walk, and sound. Do they have a random mole at the back of their neck? Do they always smell like a certain perfume because their dead father gifted it to them? It's important for you to have a clear image of who you're writing.

Strengths and Flaws

Just like real people, characters have strengths and weaknesses. These traits affect their decisions and interactions. A courageous hero might also struggle with recklessness, adding complexity to their personality. It's easy to create 2D characters by using tropes or shallow descriptions 'an all-powerful villain' 'the chosen one who trained their whole life and is perfect', but 3D characters are what will actually catch your readers' attention.

There's a reason why people often love the grey characters, the anti-heroes or anti-villains. Those who have complex personalities that make them seem human. This makes us empathise with the characters, and as a writer, it also helps you think of your characters as real people with flaws and problems.

Motivations: The Why Behind the What

Goals and Desires

What do your characters want? Their goals drive the plot forward. A detective's desire to solve a mystery or a scientist's quest for a groundbreaking discovery sets the narrative in motion. Why is your protagonist doing what they are doing?

You could simply give yourself a generic answer like 'they want to save the people' or 'they're a good person' but this can lead to confusion in the long run. If as the writer you yourself can't understand your character's goals it will get very hard to showcase them to your readers. Try to pick apart each character and genuinely consider why they are the way they are.

Inner Conflicts

Characters often grapple with inner turmoil – the clash between their desires, values, and fears. This inner conflict adds layers of intrigue and reliability. Maybe your protagonist realises the antagonist's qualms with the government are actually valid and suffers from moral conflicts as they contemplate whether or not they are the 'good guy'. Inner conflict adds dimension to your characters which in turn makes it easier for your readers to empathise with them.

Step 3: Outlining the Key Plot Points

Now that you have a clear idea of what you want to write and who you want to write it with, it's time to consider the how. You have a story, but how do you want to tell it? Break down the key plot points that shape your narrative, creating a roadmap that guides your characters through their trials and triumphs.

The Building Blocks of Plot

The Inciting Incident

The spark that ignites your story. It's the moment when your protagonist's world is disrupted, setting them on a path of change. For example, in "The Hunger Games," Katniss Everdeen's sister being chosen for the Games is the inciting incident that propels her into the arena.

This can be a little harder to recognise in genres outside of SFF and horror. For a thriller novel, this moment could be the moment your protagonist uncovers a sketchy detail in their relative's death. In romance, it could be the moment your protagonist is introduced to the love interest.

Turning Points

These are pivotal moments that shift the course of your narrative. They introduce new challenges, reveal secrets, or force characters to make crucial decisions. Think of them as the gears that keep your story machine turning. It's important to have some sort of turning point in your story to keep things interesting.

Maybe the character your protagonist was suspecting throughout the first half of the book ends up having a solid alibi, or a seemingly innocent character suddenly seems sketchy.

The Climax

The peak of tension and conflict. It's the moment your characters face their biggest challenge and must make their ultimate choice. In "The Lord of the Rings," the climactic battle at Mount Doom decides the fate of Middle-earth. In a murder mystery, this can be the moment the real killer is unveiled, or in a rom-com, it could be when the love interest moves to a new city to follow the protagonist.

Falling Action and Resolution

As your story winds down, the falling action ties up loose ends and provides closure. Readers witness the aftermath of the climax, and the characters' arcs find resolution. This is the bit where you make sure you aren't leaving any plot holes behind. Remember that random character your protagonist suspected at the start of the book? What's their alibi, why did they suddenly get out of the picture?

Structuring Plot Points

Introduction of Stakes

Introduce what your characters stand to gain or lose early on. This creates a sense of urgency that propels them forward. What if your protagonist fails to complete their missions? What if the detective never unveils the killer's identity? What if your protagonist doesn't win over the love interest? Show your readers the worst possible outcome early on so they know why they should be rooting for your protagonist.

This doesn't necessarily have to be something big or scary. In Harry Potter, many of us wanted Harry to stay at Hogwarts because his life with the Dursleys was cruel and he deserved happiness. That was a small yet significant stake that made the readers empathetic and silently root for Harry.

Foreshadowing and Setup

Plant seeds of future events throughout your story. Foreshadowing builds anticipation and adds depth, making later plot developments more satisfying. I have written a lot of blogs that either cover or briefly mention foreshadowing so I'm going to keep this point a little short.

Foreshadowing helps your readers slowly piece everything together and have that 'I knew it!' or 'how did I not see this coming?' moment. It might also encourage them to turn back and reread your work to focus on the little hints you left throughout the book. Foreshadowing is especially important in murder mysteries.

Step 4: Subplots and Secondary Storylines

Subplots and secondary storylines are the secret ingredients that transform a good story into an unforgettable masterpiece. They add layers of intrigue, provide character development opportunities, and keep readers eagerly turning pages. If you're confused about what is a subplot and how to create one you can visit my previous blog that focuses on this topic.

The Role of Subplots

Enriching Character Arcs

Subplots allow secondary characters to shine. They can showcase different facets of your characters' personalities, revealing their strengths, weaknesses, growth, and relationships.

Theme Reinforcement

Subplots can explore and reinforce your story's themes from various angles. For instance, a romantic subplot can underscore the theme of love and sacrifice, in turn making your protagonist’s heroic death at the end of the novel seem more impactful. We all know Pepper’s reaction to Tony’s death in End Game made the moment more emotional.

While creating subplots and considering which one might be relevant to your book you should think of how this subplot would impact your end goal and whether it would help emotionally connect with your readers.

Parallel Journeys

Subplots can create parallel journeys that mirror or contrast with the main plot. This dynamic adds depth and resonance to your storytelling. Maybe the antagonist’s assistant has a similar backstory to your protagonist but while the protagonist was rescued by the government they were taken in by the antagonist. As the two geniuses face each other your protagonist can’t help but consider whether they would still be fighting for the ‘good’ side had their roles been switched.

Balancing The Main Plot and Subplots

Interconnectedness

Subplots shouldn't feel disconnected from the main plot. Instead, they should interact and influence each other, creating a harmonious narrative flow. Your subplot could help bring a satisfactory end to a certain arc of your story, or it could sow the roots for the important climactic moment of your book.

Pacing and Tension

Strategically introduce subplots to maintain pacing and tension. They can provide moments of relief or heightened drama, enhancing the overall reading experience.

Character Integration

Ensure that characters involved in subplots maintain relevance to the main plot. Their actions and decisions should contribute to the overarching story, even as they pursue their own paths. You should also think about whether or not your character is overshadowing the protagonist. In Harry Potter there were several characters such as Ginny, Luna and Neville with subplots and backstories of their own, however, they never overshadowed Harry’s tale.

Step 5: Crafting Scenes and Sequences

Welcome to the realm where the magic truly comes to life – crafting scenes that resonate, captivate, and propel your story forward. Scenes are the building blocks of your narrative, each one a window into your characters' world and emotions. They help infuse your story with tension, emotion, and unforgettable moments.

Again, this is a topic I’ve covered separately in another blog so I won’t go into too much detail here.

Scene Structure and Elements

Objective and Conflict

Every scene should have a purpose – a clear objective that drives the characters. Introduce conflict that challenges their goals and motivations, creating tension that keeps readers engaged.

Emotion and Stakes

Characters' emotions are the heartbeats of scenes. Amplify emotions by highlighting what's at stake for the characters. Whether it's a heated argument or a tender moment, emotions draw readers in.

Sequences: Crafting a Flow

Cause and Effect

Scenes connect through cause and effect. Each scene's outcome sets the stage for the next, creating a seamless flow that propels the narrative. A character's choice in one scene can reverberate and shape subsequent events.

Rising Action

Craft sequences with escalating tension. The stakes should intensify, drawing characters deeper into challenges and dilemmas. This creates a sense of anticipation that keeps readers eagerly turning pages.

Step 6: Mapping the Journey: Creating a Visual Plot Outline

Visualising your plot, characters, and world can be very hard sometimes. Let's be honest, words can only do so much and if you don't have a clear idea of what you want to show your readers you can end up going down a path of 'telling' them everything. This can take away from the point of your story and end up boring your readers. If you find it hard to visualise where you're going with your book, here are some tips that can help.

Visual Tools for Plot Planning

Timelines and Flowcharts

Create a timeline that outlines the sequence of major events, from inciting incidents to resolution. Flowcharts visually depict the interconnectedness of plot points, making it easy to track the evolution of your story. You can also cut out or add bits depending on how far along you are. This will also help you keep track of what scene/development should be introduced when and why.

Index Cards or Post-Its

Write down key scenes, plot developments, and character arcs on individual index cards or sticky notes. Arrange and rearrange them on a board or wall to visualize the narrative's flow. You can also do this if you're confused about the climax of your novel by adding different ideas to the post-its and putting them alongside the rest of the book's plot to see what things would look like from a reader's perspective.

Infusing Creativity

Playlists

Curate a playlist that captures the mood and emotions of your story. Music has the power to transport you to the heart of your narrative, helping you channel the right atmosphere while plotting. You can listen to this playlist every time you sit down to write WIP. With time, this will also help you overcome writer’s block since you can put on this playlist every time you struggle to get into the right writing mindset.

Moodboards/Pinterest Boards

Create a visual feast by collecting images, aesthetics, and visuals that embody your story's essence. Platforms like Pinterest allow you to craft moodboards that serve as visual touchstones. I would recommend creating a separate pinboard for every character so you can get a clear idea of their vibe and appearance. You can even refer to these every time you're writing about or from the perspective of a new character.

Step 7: Flexibility and Adaptability

As you embark on your writing journey, remember that stories have a life of their own. Embracing flexibility and adaptability is your compass through uncharted territories.

Allow characters to surprise you, let plots pivot, and themes emerge. Balancing structure with spontaneity ensures a dynamic narrative that resonates deeply. Listen to your characters, explore ethical complexities, and evolve alongside your story.

By staying open to the unexpected, you infuse your writing with authenticity and richness. Your plot outline is a guide, but your characters and themes have the power to shape the course. Embrace the unpredictable, and watch your story flourish beyond your imagination.

I hope this blog on A Step-by-Step Guide to Crafting a Compelling Storyline will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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artist-issues · 8 months

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I have loved reading your posts on various fiction from Christian perspective. I am wondering your opinion on when fantasy/"magic" fiction becomes too much? I used to encounter a lot of people talking about how basically -anything- fantasy was evil. I have struggled with scrupulosity OCD for many years now so I tend to think things towards a legalistic lens. I'd like to be able to enjoy fantasy again, while carefully discerning, so I'd love to hear what you think are the merits/limits of fantasy

Hi! First off, Jesus said: "These things I have spoken to you, so that in Me you may have peace. In the world you have tribulation, but take courage; I have overcome the world." When you're wrestling with scrupulousity, sometimes it helps to see or hear out loud the reminder that life in Christ is one that's supposed to give you peace, not constant worry about doing everything right--even if you've heard that before and you already know it, sometimes it can help to hear it over again from outside your own head. So there it is! 🤝

Next: thank you for asking me! I'm no professional. But someone did ask me this question once before. I am having a hard time finding it on my blog right now, otherwise I'd link to it, but I'll try to summarize at the end of this post!

EDIT: You asked me to talk about the merits and limits of fantasy and I got carried away explaining why fantasy fiction is not outright evil according to the Bible. I moved that to the end of the post 😅 here's what I think the merits are:

All of Reality, our world, our timeline, was invented by God. That makes Him the storyteller, us His characters, and reality His narrative. Just like any storyteller, He made up a system of rules for His world: rules like, "humans sink in water," and "humans can't be cured of sickness by touching other humans," and "the weather doesn't change just because humans tell it to." Then God, the storyteller, broke His own world-building rules. On purpose. He wrote Himself (Jesus) into the story as a human who COULD walk on water and COULD heal other humans with a touch and COULD tell the weather what to do, and it obeyed.

In fantasy stories, when a character can break the established rules of the created world, we call that "magic." We call it "magic" when the storyteller brings in a supernatural element to show that this character is special, powerful, capable, set apart from all the others.

So that's what I think the merits are. Fantasy stories have a special kind of closeness to The Storyteller Who Invented Stories, because of that very element of "make the rules then bring in rule-breaking specialness" that He uses.

That's where you get Gandalf, or even the Fairy Godmother, or of course Aslan and the Deep Magic.

The limitations to the genre, I would say, is that fantasy stories are very tempting for storytellers' egos. Because of Tolkien, there's this generation of storytellers who think that inventing a fantasy world with rules and races and magical systems and cultures and, to sum it all up, a whole universe of their own design, is the POINT.

They think the themes and the message of their story comes second to how thorough and clever they can be with their made-up magical systems, or fantasy-race-relations, or made-up languages.

Basically, in no other genre have I observed storytellers getting so excited to play god-of-their-own-clever-world than in fantasy. Then they forget that the important part of a story is the message, not the brain that's capable of inventing worlds and languages and cool-sounding names and ancestries. What they have to say basically gets lost in how flashy and cool they can be while saying it.

But that's another soap box for another time. Those are basically the merits and limitations, I think, broad-strokes.

On to the Biblical worldview for magic in stories below!

"Magic" is mentioned in the Bible. It's sorcery. Specifically, the Bible is telling Christians to stay away from "real" magic...which is basically just "trying to connect with spiritual forces to accomplish anything supernatural." We were created to have relationship with one Spirit: God. Anything outside of that is like a fish trying to breathe oxygen: it hurts us. So the Bible says, "no real magic."

But.

"Fantasy fiction magic" is not "a real live human trying to connect with real demonic forces and accomplish something supernatural." Instead, "fantasy fiction magic" is just "a real live human making up a story. Playing pretend."

The Bible has no commands, no rules, against that. Jesus told stories. His servants tell stories. We're made to tell stories.

And the Bible has no commands against telling a story that includes magic in it.

Think of it this way: God said "do not murder" right? But then in Matthew 18 Jesus tells a parable where one man tries to choke another man. There's attempted murder in the story Jesus is telling: but just because God disapproves of the act of murder, does not mean He disapproves of telling a story that features murder.

Sin being in a story isn't a bad thing. It's realistic, because sin exists. What really matters is whether or not the story treats the sin like sin, and not like an admirable thing. Because the point of all stories is to tell the truth in a compelling way. If the story treats something sinful like it's not sinful, that wouldn't be truthful. But if the story treats sin like it's definitely bad, then it's doing what God invented stories to do: tell the truth.

Now here's where you might say, "yeah, but most fantasy stories treat magic like it's a good thing."

Right. But remember: most fantasy stories don't have what the Bible calls "magic" in them at all.

When the Fairy Godmother in Cinderella says "bibbidi bobbidi boo," she's not calling upon demons to give her supernatural power (which is what the Bible is talking about when it condemns magic.) She's using a pretend superpower that the storyteller made up, on the spot, for the story. Her "magic" is not what the Bible calls "magic," so it doesn't even matter if it's portrayed as "good" or "bad" morally.

Fantasy fiction is fine. There is no reason, Biblically, for Christians not to read fantasy fiction if their only reason for it is "well there's magic in it."

There's nothing wrong with telling a story that has a supernatural element in it. It's only a story. As long as it's not real humans doing creation-worshipping or demon-contacting practices, in real life it's okay to write and it's okay to read.

Let me know if that makes sense!

#Christianity #critical thinking #magic #fantasy #Christian fantasy #asked #answered #sorcery #Christians #Tolkien

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jq37 · 2 months

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Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.

#rise of red #descendants #descendants rise of red #descendants the rise of red #i have never seen a dcom paced like this #uma DOES say that messing with time has consequences which gives me a glimmer of hope that they're going for a 'we have to go back' thing #but idk I've stopped assuming that writers know that they're doing #if I was ending this movie on this note here's how I'd do it #I'd have it end the same but when red and her mom are dancing I'd have one lingering shot of her being a little uneasy #and uncomfortable with this new version of her mom #and I would show chloe happily reuniting with her mom but then pan over to another part of the room and show that like #a portrait or s/t that had charming in it before now just has ella #or maybe something more subtle like something he placed on a table or something earlier in the movie isn't there anymore #just a little thing to be like 'don't worry we know what we're doing'#that would give me a lot more confidence #I was so sure that Chloe was gonna find Cinderella and she was gonna turn around and be like 'who are you?'#*that's* how you do a cliffhanger #and then in the next movie we could have had the tension of 'yeah we saved your mom from being evil but now mine doesn't know I exist'#listen there's a lot of ways they can handle this #they just need to pick literally any of them #last thing:#in the Jr. Novelization #the line is that the prank turned her into a *giant* during the dance #not a monster #i wonder if the giant prank was an 'eat me/drink me' wonderland ref before it was changed #also there is a world where they changed it from giant to monster bc they wanted to do s/t with the monster body/monster personality thing #but that is TOTALLY veering into pepe silvia/secret good episode or sherlock territory lmao #for the record I did not buy it I checked it out from the library #I'm not above buying jr novelizations (i happily own the disenchanted one)#but I'm not into descendants like that

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utilitycaster · 1 year

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Whoaaaa holy shit something just snapped into place reading you mention the concept of creating a shape of negative space bc i've been thinking so long abt the "unspoken things/quiet part" of characters. I've often had this feeling that fandom will go a million and nine yards to red string board an ocean of depth for their favorite blorbo over.... what comes down to what's technically extrapolating based off of xyz canon, but said canon will be like "this character fidgets once, half his dialogue is quoting an in-universe play he tries to recreate (by ruining ppl's lives), and he doesn't understand why someone wouldn't want to be called a monster, therefore he is AUTISTIC and that drives his logic," or "this character has xyz vague background and is TRAUMATIZED because of WAR" inventing an entire character and it's like. Oh boy. This might be a matter of not being invested enough in these characters to TRY and delve so "deep" but I keep thinking that none of this is actually. written or feels purposeful in the context of How Storytelling Works/the Narrative to MAKE me invest or think that it's worth doing so. I always wonder how many people are trying so hard to project a better story onto something without understanding that the story actually needs to BE THERE and ADDRESSED, even subtly, and token moments aren't enough. But then that gets me thinking about how Thereness needs to exist for something to be subtle but written as opposed to Conspiracy off loose projection.

I was kinda thinking abt Laudna and how to use her as an example, because she's one of those characters for whom like, yeah I as a person totally understand the cycle of being upbeat and normal and everything and then having a random spiral of Bad Upstairs before being normal again, but narratively how do you portray that and why does everyone do it so much better than her. With equal screentime, everyone feels like they have so much more meat to their motivations and psychology despite some being significantly less fraught backstory wise. What's happening here because things just feel like they come out of nowhere with her with "oh so that matters all of a sudden?"

Hi anon,

Yes to all of this! With regards to your first paragraph - I feel that a lot too. It's a tricky situation because I think it's completely valid to project things onto characters and imagine them to have specific qualities that either you have or simply that you wish to see in fiction. It only becomes difficult in a fandom sphere when people insist that this is a fully evidence-based endeavor and not a personal interpretation (especially because a lot of that evidence is, as you say, either very much open to interpretation, or else totally spurious. The number of times I've had to shoo people off my posts for talking extensively about how an immensely self-absorbed character who never thinks about others unless forced to clearly has ADHD...but I digress). And as for the conspiracy element, especially when works aren't as good - absolutely. If you haven't read this, which I reblogged a few weeks ago (has Good Omens 2 spoilers) I highly recommend you do because what you're saying resonates a lot with OP's post, both in terms of our need as fans to project or find similarities with characters, and the fact that when people are disappointed by a work sometimes they try to create a better one, but instead of just writing fanfiction and calling it fanfiction they go full conspiracy theorist and assume there's some secret twist, and fall so hard into that all-crumbs-no-schnitzel (to borrow a metaphor from that post) fanon echo chamber they forget it is, in fact, only fanon.

Which brings us to Laudna. Before I go deeper I want to cover three things. First: for me at least, this criticism comes because I know Marisha is capable of doing this negative space work. It didn't come up much with Keyleth since we kind of knew her whole deal very early (which, to be clear, is valid; not every character needs this), but it's present with both Beau (her relationship to her father is masterfully done; the hallmark of good negative space work is that when the reveal comes you say oh of course) and to a lesser extent Patia, who, like all the Calamity characters, conveys a story much greater than the one that unfolds over a single night. Second: I think part of why a number of us in the fandom are so frustrated is that we have been doing that work of generously interpreting Laudna since the beginning, but nothing ever sticks, so it's becoming less and less worth the effort.

I'd have to go back through my archives pretty extensively, but early on, the going expectation for Laudna was that she would explore the idea of being one of the bystanders in a larger story as someone killed simply because of a passing resemblance to someone the Briarwoods wished to send a message to; that we'd get insight into Whitestone during the occupation from someone who wasn't freed by Vox Machina but rather killed, indirectly, because of them. However, not only have we not gotten that, but she also was chosen for being special: Delilah chose her as a vessel because of her inherent sorcery. So then it was perhaps about that tension between finding power in her sorcery vs. warlock levels - Pâté seemed like a clear setup for Pact of the Chain, after all - but then Marisha admitted she had no intention of taking that third warlock level, and always just planned to play Laudna as exclusively leveling in sorcerer, until FCG attacked. And meanwhile, there's no exploration of those sorcery powers, either.

Speaking only for myself, I've been interrogating "hey, why is her backstory that she was chased out of everywhere but for the most part everyone is mostly fine with her?" and "in 30 years she did nothing about Delilah? Really?" for quite some time. There's a number of questions that are not just unanswered, but lack the hints that this negative space work would provide. And to be clear there are ways to explain those things! This meta does a good job of talking through why she may have been chased out, and I've floated, in the past, that even Delilah's unwelcome presence was better than the absolute silence of being truly alone. But the work to support these fandom theories, again, is not really being done at the table, and moreover, even if it starts being done...it's episode 70. It should have come up in some capacity.

Marisha said (to be clear, somewhat jokingly) in the 2022 ComicCon panel that "Yeah. I don't want to think anymore. I'm tired," re: Laudna but the thing is...honestly, in my opinion? A character with Laudna's premise requires far more work than Beau or Keyleth to do well. Not only is she tied into one of the most famous events and entwined with one of the most famous villains of Campaign 1, but she's got 50 years of backstory! Beau and Keyleth are in their early 20s! (I could make a whole other post about this but character intelligence does not equal how hard they are to play; Imogen is an immensely tough concept that Laura's doing a good job with and she's lower INT than Laudna. I'd rather play a wizard than a character like Grog any day of the week because I genuinely believe that the acting burden for making a character like Grog sympathetic and believable without going into cheap mockery and parody is immense).

Going back to that statement, it really does feel as though every 4-Sided Dive episode or panel, when Marisha talks about Laudna, it's always just that she was envisioned as being over her trauma, and the premise was always just "make that creepy girl from her nightmare". And even then: it's fine if she'd done that - simply made a creepy character who was here to be creepy and cheerfully macabre - but through gameplay it's become clear that Laudna is not over that trauma (her arrested development being one of many options), and has acquired new traumas to boot, and for that matter never was really over it given that she displays intensely but they come up so inconsistently that there's never any follow-through. I agree with you completely that the idea of her often seeming fine and happy and then having spirals is believable and true to life, but one does need to actually follow through on the spirals - I think a lot of us finally threw up our hands when Laudna's believable, well-played, and justifiable anger and resentment after being thrown across the world away from half the party, essentially pushed into a fight that isn't her own, being betrayed by Bor'Dor, and feeling Delilah's return melted away without resolution. If you want to make a character who's over their trauma and go-with-the-flow, I feel as though step 1 is to not have an eternal reminder of one's trauma permanently stuck in one's head. "Warlock who dislikes their patron" is actually a premise that requires quite a lot of thinking and effort, and we are consistently not seeing it.

I think what's most telling is that the defense of Laudna for the weird freakout this past episode is both vehement, and in conflict with itself. Is Marisha just making a joke (that didn't really land with anyone at the table nor much of the fandom, and was taken at least semi-seriously by both)? Or is it actually great and good that Laudna is incredibly traumatized and clingy and we should all hope she becomes even more clingy and codependent? When even the people who are shielding Laudna from even a whisper of criticism can't agree what Marisha's doing, it's pretty dire, especially when that criticism is "this character feels directionless and incoherent."

So getting back to negative space: It's my hunch that there just...wasn't a lot of clarity to Laudna's motivations, and the questions in her backstory weren't answered. She's creepy and she's kooky, Sun Tree corpse, Delilah in her head, met Imogen two years ago, was friends with a little girl at some point (which we only know from 4-Sided Dive, which is, to be clear, bad that it's never come up in-game). We don't know how she feels about her sorcery powers other than a vague enjoyment of their creepiness...but she also sees them as a way out from Delilah...but she also barely engages with Delilah and hasn't done anything to get rid of her. We have no sense of how she got to "the worst thing that's happened to me already happened" because while it's completely fair to play her as feeling that way 30 years later, I highly doubt she felt that way as she cut herself down from the Sun Tree. So as a result, it's hard to pick a direction because that foundation is lacking.

The thing about that negative space is that to do it well, you really need to know what you're trying to convey. Which is also why, as you say, characters with much simpler backstories are fine; Fearne was basically hanging out at her grandmother's place until EXU and her parents left when she was very young; she is curious about her parents and loves her grandmother and is a chaotic fey entity who was sent into the Material Plane with the Weave Lens, and mostly she just wants to explore and have fun and hang out with her friends. Ashley just needs to...play Fearne like that, which she does with aplomb. The complex setup for Laudna demands a huge number of answers in the backstory, and my guess is that Marisha does not have them. I think the problem isn't with the acting (in fact, I'm fairly confident it isn't, because, again, I know from past characters Marisha can do this); it's that Laudna's concept prioritized the aesthetic, mechanics, and facts of the backstory, and didn't adequately fill in her beliefs and motivations, so she's just flailing. I also suspect from the most recent 4-Sided Dive and the most recent SDCC panel that Marisha is specifically looking for interparty conflict, and to be clear that's valid...but again, to do that believably and well, Laudna's philosophy and motivations and characterization need to be much more clearly established than they are.

#answered #Anonymous #cr tag #long post #critical role spoilers

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talenlee · 26 days

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Game Pile: The Arilou

New Post has been published on https://press.invincible.ink/game-pile-the-arilou/

Game Pile: The Arilou

In consideration of science fiction storytelling there are some problems that kind of have to be tangled with between the realism of here and now and the fantastic of the story can intersect. It’s because there’s a hypothetical attenuation between the scientific of the genre, the way that things need to be built out of conventions and frameworks we’re already familiar with. Sometimes this can be done with single, deeply, and fundamentally important boundaries on reality, like how in Mass Effect there’s the introduction of a new, single element one level higher than Hydrogen, and its presence allows for all the stuff in that universe that we conventionally consider to have broken the rules of our reality.

One of those challenges is the Fermi Paradox, which is – simplified – ‘hey, where are all the aliens, bro?’ If there are a lot of aliens and we’ve had a lot of time, surely we’d see some sign of them, and we haven’t. This puzzle is at the heart of a lot of different science fiction stories. Sometimes it’s addressed, sometimes it’s central to the whole narrative (spoilers for The Three Body Problem I suppose), and sometimes, in a story big enough, it just gets to be a detail in amongst many.

In Star Control 2, there is a species of little green humanoids that fly around in strange saucers that don’t behave according to the laws of physics the way that other species’ space ships do. They’re called the Arilou, or more formally the Arilou Lalee’lay, and they speak to humans as delightful tricksters who are here to help us and guide us through the stars.

They like to use the term ‘enigmatic,’ which is a good term for it. They do things that don’t seem to make much sense. Now, part of the challenge with all of this is that when you’re dealing with alien civilisations, hypothetically they should have some sense of individuality and cultural variety just by dint of having such large numbers, and yet, the genre that Star Control lives in is that there are [The culture] and then occasionally, like Admiral Vux or Fwiffo, you get individuals from that culture. Complicating this further are some cultures that aren’t cultures – the Mycosynth and Orz in particular.

Spoilers for the Orz I guess.

Anyway, the Arilou project a uniformity of purpose, a univocality of culture, and that means that their reasons are inscrutable. They appeared out of nowhere to join an alliance, but only once humans did. Then when humans were enslaved by the Ur-Quan (we’ve talked about them before), the Arilou also disappeared. They then rejoined the normal world when the humans sought them out, all because of their special, mysterious connection with humans.

Anyway, the Arilou are kinda dicks?

See, if you asked the rest of our galaxy about them, they had no idea they existed, which is pretty odd. After all, they’re very technologically advanced and somehow did everything without trading with other people. They know a lot about everything in the whole of the sector and they interact freely with them as soon as Humans are involved. And bear in mind, that’s Humans Humans. There are two cultures in the Star Control Universe that provide a wrinkle to what it means to be humans.

Most obviously, there are the Androsynth. They are uh, they’re humans? They are definitively and actually humans. They’re cloned humans who have left the Earth and undergone whatever modest genetic translation you can do across a few generations, which is nothing fit enough to guide towards speciation. Androsynth and humans could absolutely interbreed, if not for the fact the Androsynth regard humans as being a bunch of slave-keeping assholes.

Which they are.

But that’s not all, because there’s also the Syreen. Syreen were originally conceived as a kind of Sexy Space Succubus, but in Star Control 2 they were fleshed out into a fully realised culture of their own. They’re a culture of predominantly women who are completely genetically compatible with humans, which, if you’re curious about such things, means they’re basically humans. Of course the question about why the Syreen are like that is a huge puzzle for the universe to answer, and the weird thing is there’s actually a pretty obvious answer as to why there’s a culture of nonhuman humans parked a few hundred light years away.

That answer is ‘probably something the Arilou did.’

But the Arilou don’t care about the Syreen. We know this because the Syreen were the people who witnessed the way that the Arilou abandoned the universe the second humans were slave-shielded. In fact, this led to the Syreen being defeated by the Ur-Quan and that’s why the Syreen call the Arilou a bunch of weasels.

Here’s the thing: The Arilou have fucked with humanity. The nature of Star Control 2 is that it is a world whose narratives leave a lot of questions because the why of how things ended up the way they are isn’t as important as the what the player gets to do in the discovering of it. To that end, what I can tell you about the Arilou is something with no greater answer, complicated further by the fact that the source for it is largely diegetic information from the Arilou themselves.

The Arilou assert that they want to preserve humanity from interactions with entities that exist. These entities, they claim, are fundamentally dangerous to humans, and therefore, the Arilou have changed humanity, like all of humanity so as to not be noticeable to them. They do this, and then also hide their own influence on humans, their presence in our history, their homeworld and a bunch of other stuff because they believe that ignorance is the humans’ best protection.

This belief is such that when they discover Humans know things, they bemoan them because the knowledge of things like the presence of the Orz or the way that Arilou travel through space is something that’s going to create problems for them later down the line. This ignorance and this enshrinement of it, complete with their discussion of keeping secrets from humans seems to indicate that they were doing things to keep us from finding out about other alien cultures.

When I talk about the science fiction speculation of Star Control, it’s not like I’m talking about it as a fundamentally predictive kind of text. It’s a science fiction story built out of the ideas of science fiction of its time, and there’s no reason any of this stuff needs to be built out of any kind of reasonable science. It’s wild to me that when Star Control 2 released, exoplanets were a theory (a pretty well justified theory). Now they’re confirmed facts. It isn’t even that remarkable a thing, when you think about it — the idea other stars wouldn’t have planets would be such a weird idea as to be impossible.

Every time we learn a bit more about the universe, in so doing, we discover the parameters that play with the edges of these big questions. Why aren’t there, why are there, how common is this, and the beautiful thing about it is that knowing these things are deducing actual answers to actual questions and we may know those questions better — and their potential answers — comes from being able to play with them, to see these ideas used in the media around us.

And in Star Control 2, this question of why are we alone has an answer that introduces you to the question.

The Arilou are why we are alone.

Because they were looking for things to make that way.

#Star Control 2 #Game Pile #Games

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theperpetualgrouch · 4 days

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My spoiler free review of transformers one!

Oh where do I even begin?

Transformers: One, first and foremost, manages to achieve something no other Transformers movie (besides Bumblebee, and perhaps a stretch, the ‘86 movie too) has ever done, and that’s adding a whole bunch of heart into it. This movie is clearly a labour of love not only from its director, but everyone else involved in the project too. It’s a movie that introduces new concept and ideas that are simple on paper but work wonders with the characters involved in this story and the setting it takes place in, offering a refreshing insight into Transformers mythology that’s thus far, only been told in scattered fragments across various continuities.

Now that I’ve come down the highs of watching this movie, it’s by no means perfect. There’s flaws in here that are noticeable and may hinder the enjoyment of the movie depending on what your expectations are for it. At some point, I do want to talk about them once this movie is available for everyone to watch. However, the positives this movie does have makes me forgive these flaws and not care about them as much as it should have. I would also add that this movie is definitely a good time for a non-transformers fan, but their enjoyment of it won’t nearly be as intense as someone who’s already a fan of the franchise and has known these characters prior to this film. And that’s okay. For how I currently feel about it, it’s a great movie in of itself. But as a Transformers movie it’s a masterpiece and a huge step in the right direction for this franchise to take.

The movie contains elements and themes that aren’t tackled in mainstream animated movies, especially with how it chooses to explore those themes in terms of character dynamics, and how conflict can occur from the same point of view. This movie has a clear central antagonist, but allows its audience to pick apart everything else with more complexities. Although the ideas presented are simple, the execution of them are what makes them work really well. It’s especially important for this kind of story the movie is telling, where you know how things start and end, and the entire story hinges on the journey.

The animation is gorgeous, it brings Cybertron to life in this film with its stunning visuals. Cybertron itself is like a character in this movie, where so much of the movie is focused on how the planet is being used by its inhabitants. It makes the movie feel more alive than it already is. The same extends towards how the movie uses lighting and visual effects as part of its storytelling too, as well as size composition that play off character designs and what they symbolise effectively. These compliments also extend towards the character designs, where they’ve achieved their goal of being memorable by humanising them enough for the audience to get attached towards, whilst also just being alien enough to make them unique.

The soundtrack of this movie is also phenomenal, many tracks in this movie have been reused from other transformers properties but they’re each utilised for the right emotional beats in the scenes they’re used in. Although I’m not a fan of some choices and usage of music from time to time, the original score this movie does have carves the identity of this movie so beautifully, it adds more personality into it than it already does have. It’s a homage to music used in other transformers media whilst introducing something new into the mix.

The ending of this movie leaves so much potential for new stories to be told. Although a majority of people can already assume the ending, the way it’s wrapped up was done neatly despite the messy conflicts this movie tackles with, which makes me anticipate for what they decide to do in the future.

All in all, this is an excellent, amazing movie that does so much right and as a transformers fan, is near perfect. I’m definitely looking at it with rose tinted glasses at the moment as I’ve just finished watching it, but the hype for it is definitely warranted!

9/10

#transformers #maccadams #tf one #transformers one #spoiler free #movie review #animated movies #gahhhh #im not okay

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marzipanandminutiae · 8 months

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I see you talking about ouat and it unlocked thoughts that have been neatly filed away for years so here I am, yelling them at you.

I assume at this point spoilers arent a problem anymore for you but you said you originally didn't watch past the frozen but a warning just in case.

I kept watching for quite a long time, but I quit after the whole thing with ruby and Dorothy because what? it just felt so incredibly forced and badly written? and I'd gotten so annoyed because before we'd already had the whole thing with aurora and mulan, which I was rooting for but okay, that didn't work out, too bad for mulan. then we get a perfect set up for ruby and mulan. and it's just. never mentioned again???? ruby comes back eventually but wtf happened to mulan? it annoyed me so fucking much let me tell you.

also I remember trying to write out family/relationship trees and stuff for ouat to see how weirdly convoluted everything got. was very impressed that it seemed they managed to avoid accidentally having incest or something in the show with everything that was going on there.

I have so many more things but this has already gotten way longer than intended. do you have a favourite part of the show? I'm assuming your favourite characters is either regina or emma?

Oh man all of that brings back memories. I didn't stick around long enough for Ruby and Dorothy, but I got the sense that they were doing it to try and counteract the "avoiding Swan Queen because homophobia" allegations.

(I actually don't think they WERE avoiding Swan Queen because of homophobia, necessarily. I think it was never their intent to begin with; they just happened to attract a sapphic audience who were deeply on the Enemies to Lovers train. I do think they may have indulged in a bit of queerbaiting, though, because of some Emma/Regina moments that happened after the writers definitely knew the ship existed. I think it was never going to be canon, but they handled it poorly once they realized that people saw it as an option.)

I stopped watching around Frozen for a couple of reasons:

On a personal level, I just got sick of seeing the characters I shipped with other people. That's not an objective problem; it's my opinion and not everyone will agree. But to me, Hook was a whiny insecure manchild and Robin had the personality of Clippy the MS Word paperclip, and damnit, I wanted Emma and Regina to kiss each other instead of them!

On a This Is Bad Storytelling level, I HATED how Frozen was integrated. Earlier stories had been a nice blend of traditional fairytales with Disney adaptation elements- Beauty and the Beast where Gaston and Chip are both kind of there but in subtler ways, for example, or Cinderella where her dress resembles the 1950s animated version but everything else is different. Frozen, though, was just...Frozen. The entire plot of the movie Frozen had happened before the characters entered the OUAT storyline, their costumes were identical to those in the movie, and while I've heard that they added some different backstory- it just wasn't the "Hans Christian Andersen story with subtle Disney touches" that I would have expected from earlier seasons.

Personally, I don't think the initial curse should have been broken in a season. I feel like that locked them into a pattern of having to continually invent a new Darkest Evilest Most Powerful Magic EVER!!!!! to top the previous season, and that took them to some really weird places (I heard they went to literal hell at one point?). The show had a cool premise and some interesting ideas- I loved how they managed to give individual kingdoms distinct cultures and even fashions. You can tell the "look" of Snow White's kingdom from Cinderella's and Cinderella's from Ariel's, etc.

Everyone who would watch an entire season of Abigail's Ancient Greek Steampunk-ish kingdom, raise your hands. Seriously, so cool.

But something went wrong, IMO around season 4. I'm not sure if the show had just outlived its original concept or had outside pressures pulling it in different directions or what. All I know is, as far as I'm concerned, the show ends when Emma and Henry leave Storybrooke in season 3A. Pity It Was Cancelled So Soon, etc.

(although OOC Matronly SnowTM would have been perfect for live slug reaction memes, so there's that)

#long post #ask #once upon a time #ouat #anon

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alicewhimzy · 1 month

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My Dad and I like to talk about a lot of stuff. One of the things he's been fascinated by is media transmutability and using existing media to make new things. One example he mentioned is "This Spartan Life", a talk show done in the first person shooter Halo 2. This reminded me of the many many animations that many many creators have made over the years out of a game I've liked for a while and unfortunately have only recently been able to start playing; Team Fortress 2. One film in particular stuck out in my mind. I brought it up, we discussed it and after a while he agreed to watch it with me. That was a week or so ago.

🪚🩺🩸

Last night I watched Emesis Blue with my Dad. He was a bit surprised at how little dialogue there was but overall we both really liked it. The stylized design of the nine mercs and the other models works in this film's favor, giving the film a sense of identity that a more conventional live action film wouldn't have. It reminded my dad of the comic Sin City. It is a story with quite a lot of violence, which I think is to be expected considering what it's based on, but even then, it's not gratuitous, not much you wouldn't see in the game proper. It's in support of the plot, and even if there's not as much dialogue as other films, the visual storytelling makes up for it. Also the references to other horror works such as the shining are a nice touch.

One element I like in particular is the fact that the film misleads us so well. At first it seems to be a standard noir outing, especially regarding the storyline of Jacques and Columbo. There's a short fight and a mcguffin in a briefcase is introduced. But once we reach Conagher Slaughterhouse, there's an uncanny eerieness that quickly comes over the audience and never really leaves. We have no way of knowing how much of what we see is real or not, and neither do the characters involved, and nowhere is this doubt in reality shown more prevalently and brilliantly than in Dr. Fritz Ludwig.

Of all the stories told about the tf2 Medic I think this is the greatest I've ever seen. In game, Medic is famous, or infamous, depending on perspective, for being not quite all there in the sanity department. The kind of person who will brag about stealing someone's skeleton. The kind of person who can and has performed soul-transplantation multiple times. The kind of person who will casually mention implanting someone with a fully functioning baboon uterus pregnant with triplets, only a slight exaggeration. He's crazy, he knows it and we love him for it. In Emesis Blue however, this component of the Medic's character, the concept of being mentally unwell, is shown with care and nuance. He is never referred to by his class, but instead has the full name, Dr. Fritz Ludwig. This well-meaning but unstable man is put on a downward track from the moment we first see him, by forces he can neither understand nor control. He blames himself for Jeremy's kidnapping and later death, and wants to find a way to save or at least avenge him or redeem himself. But once he does so and the brothers are dead, his hope is only to survive. Every time he must fight for his life it deeply affects him as he is faced with unbelievable hallucinations. Is it some twisted effect the malfunctioning respawn machine is having on the world around it, or is it his own sanity slowly abandoning him. We see other characters hallucinating, but him? He has no idea. Fritz is constantly fighting a losing war with his own troubled mind, and the situation he's stuck in and trying so hard to get out of is only making it worse, as he gets closer and closer to what the enigmatic undertaker in black has already become. An unstoppable undying force of violence. Not even the others are safe from this, as Jeremy, Stalingrad, Mundy and Jacques clearly show.

Oddly enough however, the film ends on a somewhat bittersweet, if not uplifting note. The two timing schemer Archibald is dead, so is that asshole Jacques, and with no one else to run the company and its involvement in the gravel war coming to light, it's clear that it's going to crash and burn. Good riddance. Mr. Doe survives and makes it out of the funeral alive, secure in the knowledge that many, if not all crimes against him and the other mercs will finally come to light. Fritz is the last one holding the briefcase and even gets to finally reconcile with Jeremy at Dell's bar in the afterlife, even if he respawns one last time soon after. But by far the greatest thing about this film, and the thing that made up for the minimal dialogue for my dad, is the atmosphere.

The atmosphere is nothing short of mesmerizing, there's very little music, only just enough to supplement the tone in a few scenes. All other times the ambient sounds of the environment are all the scene needs to establish how creepy, surreal or hopeless the tone of a scene is. The nigh-omnipresent contrast of red and blue throughout this film, directly calling back to the opposing teams and their perpetual pointless war, is employed to masterful effect, whether to indicate a turning point in a scene, or to illustrate how conflicted a character is. It's simple, maybe even a bit obvious, but it's great nonetheless.

More than anything, watching this film feels like descending into madness in a way that I personally haven't seen an animated film do before now. The feeling that you have while watching Emesis Blue is like swallowing a hungry parasite, and I mean that in the best possible way. It comes upon you slowly but surely, you almost don't perceive it, and by the time you do, it's already got its fangs into you. It nestles deep inside your brain and squirms there long after the credits have run, so that hours later, awake in your bed, you're still thinking about it. Visceral. Terrifying. Beautiful.

Emesis Blue is a modern work of art. My dad thought it was a bit lacking in the script department, but I loved it. If you like your horror with existentialism, surrealism and lots of guns, then I recommend you check it out. It's available on YouTube and I only hope that Fortress Films projects will continue to entertain us in the future. Until next time, how long have I been waiting to do this one?

~A.W.

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lucianalight · 10 months

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Connections between Gods of Stories: Science-Fiction, and Magic being a Powerful Lie - Approaches to Storytelling

From "Loki God of Stories - A Comparison between MCU and Comics" series - Co-Written by @lucianalight (Luci) and @theitcharchives (Hollow)

“All science is fiction until it’s fact.” The line said by Timely implies that in Loki’s series, fiction is closer to science than one would think.

In S02E05, Ouroboros is a scientist and a writer. We are introduced to the concepts of What and How, aka science’s staples, then When and Why, aka science-fiction’s staples.

And the Where, though unmentioned–the original people present had to be reunited together to recreate an aura and pinpoint a location in time and space: Where became a staple of science-fiction.

Now, the Who seems to be about “the people he cares about/wanted to see”. (It is said in The Making of Loki -Luci). Yeah it stands as the theory behind the practice, but I have a headcanon: it is my (=Hollow’s) personal understanding and belief that the Who is essential to magic–once Loki understood the Who, he understood his role. He could control the time slips because he wanted to protect those he cared about and their lives. He would have to sustain the timelines because he wanted to find a solution to the dilemma and thus he broke and substituted the equation. Magic needs a who, a will to direct it to not just be aimless energy, and Loki made his choice to use his own and his power to allow everyone else to make their own choices. “Who he wanted to protect” is not the relevant part, “who wants to do the protecting” is.

These six elements are not only the fundamentals of journalist articles, but also of stories. You kind of have to answer them to have a plot–or at least it’s a good start.

In S02E06 Loki spends centuries learning what OB knows, which leads Loki to learning how to stop time with his magic. Something HWR can do with technology, Loki substitutes with magic.

Then, in Thor 2011, Thor says in Asgard magic is considered to be a science. So for MCU Loki, magic is a science.

In MCU Loki’s universe, science, fiction and magic all cover roles that combine into answering all questions for one goal: tell a story. So Loki, who is a master of magic (Who), and thus also a scientist (What, How), can cover the remaining elements (Where, When and Why) because he wants to rewrite the story–he wants to exercise his will over his fate.

In Loki’s series, if you are a magician you are a scientist, and science deals with facts. Magical facts then are still facts, and if you can write with magic, you can change reality. Even stop time and jump across it–because you want to, and you are a master scientist in the branches of mischief and chaos.

Comics Loki says “So let’s talk about magic. [*...] At the core [...] magic is taking a thought and making it real. Taking a lie and making it the truth. Telling a story to the universe so utterly, cosmically perfect that for a single, shining moment… the world believes a man can fly.” (-Loki; Agent of Asgard #1) “What is a lie, Verity? A lie is a story told. That’s all. And we can rewrite our stories. All of us. Write our own happy endings. Our own redefinitions. We don’t have to be what we’re told to be. Even by ourselves.” (-Loki: Agent of Asgard #13)

Comics Loki is the God of Lies. MCU Loki, not so much–he’s never quite had the opportunity to be a god of lies. He’s called the God of Mischief, and he does Mischief aplenty. Comics Loki’s journey to becoming God of Stories went through understanding that his propensity for crafting lies was just exercise for learning to craft stories. With lies, comics Loki does magic. He is not quite a scientist–comics never really gave the vibe magic=science. Magic is magic and works more on possibilities and potentials than facts, has its own rules (* “We can dicker on the exact rules, if you like. There are all sorts of grimoires and cryptonomicons. I’ve got an AD&D manual somewhere” -Loki: Agent of Asgard #1 - Loki’s mention of Dungeons and Dragons manuals delightfully suggests that, one: it exists in E-616 and he plays it, two: that one could actually do magic while playing it, and three: something poetic about writing and creating magic and playing pretend and the power of imagination).

Well the point of all this is–both MCU Loki and Comics Loki deal with storytelling in their own way. Comics Loki has a true magician approach to it. He writes and rewrites stories because it is his potential blooming and flourishing. MCU Loki has a near-scientific approach, that still beautifully flows into magic, and is quite flattering to Loki–he rewrites the story and holds Yggdrasil because he is Loki and he wants to, and he can. Because “we are gods” babey.

Previous - Next

#loki #loki series #loki meta #loki tv show #god of stories #comics loki #agent of asgard

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emperorverse · 1 year

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The Emperor-Verse: RWBY: Saints of Remnant, a reimagined AU(More details in Keep Reading!)

Once there was a world by the name of Omnibus. Created by the supreme deity The Author Allfather through the mysterious entity The Storyteller, this world was composed of four holy and mighty kingdoms, ruled by The Author’s Patron Saints whose reign protected the people, human and faunus alike, with their mighty armies, hunters, and their own holy powers from barbarian hordes, and the hordes of The Grimm who were the incarnations of hatred of the fallen seraph Grimmel The Black and his fellow fallen angels

In the dreadful world-shattering war of Ragnarök, the glorious age of Truth, Goodness, and Beauty, and the days of Romance, Heroism Adventure, and Eucatastrophe came to a tragic end.

Now all that remains is the world that is Remnant

But there is a prophecy made by Ozma The First Time Wizard before his death at the hands of The Witch-Emperor, that one day the bloodlines of the original Patron Saints and the families betrothed to them will return to take up these powers, rally armies of the righteous, vanquish the darkness and restore the holy kingdoms and Omnibus and reign over them once more.

Sinners will become Saints

Legends shall be restored and new Legends will be born

And what was a Remnant, Shall Be Whole Again.

But until then, the Hunters lead a struggling battle against the Grimm while the modern kingdoms suffer under corruption of all kinds, both to the benefit of darker forces who have horrifying intentions for the world.

Cue Ruby Rose and her older half-sister Yang Xiao Long, they are about to enter Beacon Academy after being approved by the eccentric Professor Ozpin Pine along with the heiress Weiss Schnee and the introverted faunus Blake Belladonna forming team RWBY

Ozpin has also enrolled a few other students and transferred others.

The former forming team JNPR, and the latter being Team SSSN of Haven Academy

Ozpin seems to have his eye on all of them, but what for?

Heavily inspired by CS Lewis's series The Chronicles of Narnia

Main Ships Contained:

RoseGarden

BlackSun

Iceberg/Arctic Water

Arkos

Renora

and some other ships

Also will contain unorthodox reimagining such as Adam Taurus(He's an initial antagonist turned good) and the White Fang and Jacques Schnee and the SDC with their Canon!Counterparts replaced with substitutes among other things

Currently the concept is in the works in a series of notes.

Details of the Emperor-Verse

Now I'm sure there's some questions you probably are all asking which I assume are the same questions as my blog

“Why are you using your Religion?”

Mostly due to it being a strong foundation, notably theology, for most of my stories, there are many strong foundations of storytelling, religion, history, you can even fantasize science if you put the imagination, time, and effort into it.

After doing some soul searching and listening to the Narnia books on Audible, it became another important element in making this au and I might include elements of CS Lewis’ Space Trilogy

This AU is set in my fictional Multiverse The Emperor-Verse which Narnia is implied to exist in, or I should say had existed in(its set after The Last Battle)

“Isn’t this kind of entitled and disrespectful?”

Disagreement isn’t necessarily malicious, and entitlement is not inherently bad if its your opinions and subjective feelings which people are entitled to.

Tolkien was heavily inspired by his distaste for how Shakespeare handled certain concepts, such as the Ents when he was upset and dissatisfied that there were no walking talking trees in the Enchanted Fortest of Macbeth, and the Valar Aule the Smith and the origin of the Dwarves make him something of an Anti-Prometheus

Not to mention Philip Pullman, the author of His Dark Materials Trilogy, made it out his distaste how CS Lewis made the Chronicles of Narnia and his overall beef with Christianity, and nobody seems to take issue with that.

I’m not saying the direction RWBY went with V3 or Pyrrha and the rest of the cast potentially ending tragically in some way or another is objectively bad, it was just not my taste

And I am not saying every normal RWBY fan/RWDE person who liked it is an elitist about it nor are all of them trying to insult me and attack me personally or say my ideas are bad

Nor I’m not trying to change canon or its “trajectory” , nor am I doing this to spite Monty, especially when I never knew the guy. This is a difference in handling ideas and concepts.

I’m doing my RWBY AU, which will most likely be revamped into an original story since it takes a whole different directions with the characters and world, but it's mostly because with post V3 and now in retrospect I saw what this world, characters, ships and other ideas could have been all in a story I believe is worth telling. And I was disappointed that it wasn’t.

I mean yeah it's also due to personal tastes and preferences and subjective feelings, at least I’ve been told, but I also try to integrate that in a meaningful way.

So I hope you all enjoy what I have to offer, which will most likely be put on AO3 and FanFiction.Net, and who knows, I might get a few artists to commission to redesign some characters or illustrate some scenes if anyone is up for it.

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mdhwrites · 1 year

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How do you think TOH will hold up in the future? I imagine it will still have die hard fans aggressively defending it in spite of all its flaws. But if there’s one thing I’ve learned, it’s that audiences are fickle. They’ll praise something like it’s a sacred masterpiece one minute, then turn a 180 and treat it like overrated trash the next.

So my immediate response was that it would end up like Danny Phantom or Kim Possible where some people will still love it so much as to make it what they do, some will remember it fondly and most will just forget about it and never bother going back for it. And I say that as a fan of both shows. Just... They didn't become cultural touchstones. It's very hard for most cartoons to do that. One could easily argue we haven't had one (for a new IP especially) since Gravity Falls or Steven Universe and you'd probably have a decent case for saying Gravity Falls still doesn't count compared to Steven Universe. This is probably what's going to happen to Amphibia even just because there's a lot of media out there so getting picked up as a household name that isn't forgotten is hard.

But... I think TOH will just kind of get forgotten. For most, the most special part of it is either that Luz made them feel seen, and for those the show will never fade, or the specific ships they cared about which will eventually get replaced. But I actually don't want to try to assume how the fandom will be in five years. Let's actually talk about, now that the show is said and done, the simple question of: How do you pitch watching TOH's final product? Because even the CURRENT fandom constantly has to use excuses for the storytelling. To justify it being special, they already have to narrow its scope like "the first gay main character in a Disney television cartoon" or they have to cherrypick what they're aiming against, like saying Belos' death is good because they don't like the SU ending or that Luz getting to keep her found family is unique because the only other isekai they've watched is Amphibia. That's all really hard as far as pitches in general go.

So what do you tell someone looking to get into it from the perspective of a fan? Do you warn them that some plotlines don't get resolved properly because of the shortening? How many elements do you have to prepare a new viewer for with that excuse? What's worse is... TOH is just a worse product now that it can be binged. Those who watched S1 before S2 came out got to revel in the best versions of these characters. Any potential Amity had though is crushed like her necklace two episodes into S2 and only becomes more and more obvious as the season goes and you don't have months of waiting between those two versions of Amity. You don't have multiple hiatuses between murder happy Collector and "What's death?" Collector which would make the contrast MUCH WORSE and much harder to ignore. In fact, because so many of TOH's character arcs rely on revisionism to just make an audience forget who a character used to be, binging it's going to make that process much harder in general. Future audiences are just more likely to notice the lack of effort in so many elements just because the whole show will be fresher in their minds.

And most of them won't have the fandom and the like to pull them along or tell them why certain things are the way they are, though not even the fandom always has answers. Why isn't the Grimmwalker reveal setup AT ALL unless you're combing literally ever element of each episode? And even then only once? Well... *shrug* But it's a big deal now so you better just be okay with that.

Frankly, as much as I don't want to be mean about this... I think being forgotten besides by the rose tinted glasses of the fandom is its best fate. Or that it will be known as a show that had a really good first season, a good first half of S2, and then dive bombed in quality, especially in S3, and that the only really notable thing about it is the sapphic ship between the main character and her love interest.

It is a show that only functions if you know the FULL context for it coming out. And even then, like with how much the fandom contracted during S2, let alone with each special of S3, that context wasn't even always enough to keep people watching.

So yeah, I think the fact that a lot media gets to just gracefully retire with its fans nowadays, since being a classic is so much harder when there's SOOOO much more media being produced, is probably going to be a boon for The Owl House. It can just be that little witch show for those who loved it and for those who disliked it... Well, something is always new on the horizon. I know I'm keeping my eyes out.

========

Okay so I wrote this last night. This morning I had errands to run and my sister helped me since she has a car. She convinced me to pick this up.

Looks cute. I was warned it gets dark eventually which... *looks at the goth art style* Totally couldn't have guessed. Also before anyone even thinks it: The comic originally began being published in 2015.

#toh critical #the owl house criticism

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fogwitchoftheevermore · 8 months

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Yes!!! Watchers are Narrative!! I wish I could put it in words better but that's exactly how I see the Watchers. The patterns and stories and everything Just Makes Sense

DUDE LITERALLY i so badly wish i could actually articulate what i'm talking about here or honestly i at least wish i had some screenshots from the bigger mechscord about how people talked about Narrative. but it's just- ok if you're someone who has never heard of the mechanisms.

the mechanisms were a band of immortal space pirates who roamed the universe looking for stories. every story they found was always a tragedy and every story they made was equally a tragedy. they transcended time and space as they traveled because wherever they were going and whatever they were doing was at the whims of whatever (out of universe) made the story better. the way this manifests in universe means that the Narrative kind of exists in universe and has it's own thoughts and whims and is doing it's own thing. this is most obvious when the mechanisms die. but space, i thought you said they were immortal? yeah, they were, until it served the narrative for that to no longer be the case. all of their deaths are pretty indicative of this, but i think jonny's is the best example/the easiest one to understand.

"for some reason, it sticks". the "reason" is the narrative. the narrative has decided jonny works better dead than alive, now, so that's what he is, even though he has never before been able to reach that point.

basically it's taking those concepts that got real popular on tumblr (doomed by the narrative, the narrative loves you, etc.) and making it real- the narrative is somehow a sentient, alive thing that has wants and a story to tell. you are a member of that story and equally the vessel through which the narrative can tell it. once the narrative no longer needs you, as character or narrator, that means your story is over too.

things happen because the narrative says they do. these things don't have to make sense- sometimes something just works better this way, so there's plot holes and retcons and inconsistencies and missing information from different sides of the story but that doesn't matter because it's all serving one big story.

so like yeah the mechanisms concept of the narrative really encapsulates the watchers, and honestly a lot of mcyt storytelling in general, to me. it's a little cruel but it's mostly just not human. it has a story it wants to tell and that story is very frequently tragic, or at least has a lot of tragedy within it. (the mechanisms sometimes told happy stories! kinda! look the only thing i'm thinking of is briar rose and cinders and even that's not quite happy but you get what i mean.) sometimes the story doesn't quite fit together right, or elements are only decided upon later on and have to be sort of shoved in. the narrative exists mostly outside of the story but sometimes needs to move things along or needs someone to tell the story so it chooses someone to do it. it leaves just enough room for interpretation in the story for the audience to put themselves into it, to have their own brand of fun. do you see the vision.

#this is not the world's greatest explanation about The Narrative but it's what ive got in me #space rambles #yknow what #im maintagging this actually #eyesandears #traffic smp #like DO YOU SEE MY VISION #anyways you guys should all listen to the mechanisms #also as i referenced in that post the blaseball gods also super effect how i perceive the watchers #but they effect it a little less in the realm of 'how the watchers work' and a little more in the realm of 'how the watchers interact'#like how they speak. why they speak. what they choose to say and what they choose to leave out. that kinda thing

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avastrasposts · 1 year

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Hello!

So I just realised about 300+ people decided to follow me and, I suppose, read my stories? And 300 is such a small number but to me it's surreal that so many of you want to read what I write!

So I thought I'd introduce myself a little, just to be polite you know, and be like those author blurbs they put on the inside flap of books. So read on if you want to know more about me and my writing, or just keep scrolling if you'd rather I remain a redheaded mystery with a thing for Frankie Morales.

Also, chapter 16 of The Pilot and his Girl will be posted tomorrow, it just needs another round of editing.

Also, again, this got long, so if you can't be bothered reading all my ramblings below the cut, I totally understand. I have a habit of getting wordy....

So, I'm in my 40's and I've been writing for most of my life, starting with embarrassing little short stories in adorable misspelled fashion when I was just wee. I aspired to be a journalist and then went on a completely different tangent career wise, ending up with a PhD in an area I no longer work in (fifteen years of higher education never to be touched again but you definitely want me on your team in a pub quiz!). I have vague memories of writing fan fiction in my early 20, I think? (I'm old, give me a break). But I only got back to it late last year as a way to kick start my imagination and discipline around writing again. I needed a creative outlet and writing is something I always enjoyed and found easy to do.

I live in England, in the amazing but fucking expensive city of London. I look pretty much like my profile picture, only more wrinkles and maybe a bit of silver in all that gingerness. I'm a very good cook and baker (Pedro, I'll teach you how to cook any day!) and I'm married to my very own sweet Latino man. He's not called Frankie but he does call me cariño. I have big chunk of family in Sweden and I speak a little bit of Swedish (it's actually where I am right now, we're over here celebrating midsummer).

I started writing fanfics for The Boys fandom and Karl Urban as I was binging the whole show after finishing season 4. Then I stumbled into the Pedro Pascal fandom as I watched The Last of Us.

TLoU has a very special place in my heart. I've been gaming since my early teens and bought a Playstation 3 after saving for months, my first console after playing on PC for years. When TLoU came out in 2013 I bought and played it straight away and I, like so many others, had an experience playing it. It's the only story, in any medium, that's made me cry after just 10-15 minutes of game play. The scene were Sarah dies, still gets me every time. And the rest of the game...I turned up at work the next week in a daze, just needing to tell people about this incredible story and experience I'd had. It was like no other game I'd ever played, before or since. And I've replayed the game about once a year since 2013. Back then, that kind of game was totally unique, there was nothing like it. Some games had explored stronger story telling elements, but not on this level, nothing came even close to creating such a bond between gamer and characters. Now days we're spoiled by powerful storytelling in video games, in 2013, The Last of Us was totally unique (sorry, I'm blabbering, but I could go on at length about TLoU and the impact it had).

So when I heard there was talks about turning into a tv-series, I was scared. Really worried. The gaming community have seen so many horrendous adaptations of video games, my beloved Assassin's Creed was butchered in 2016. But then I heard Pedro Pascal had been cast as Joel and I was carefully hopeful, and then Bella Ramsey as Ellie and I got really excited. I'd seen them both in Game of Thrones, both of their performances sticking in my mind. I even remember reading about Pedro being cast in GoT and looking him up and being disappointed because he looked nothing like I'd pictured the Red Viper when I read the books. But then he just swanned in and crushed it, he was so damn good, he won me over straight away. I can't imagine anyone else playing Oberyn.

And then of course, the first few trailers of TLoU dropped and we got glimpses of the show and I remember texting my equally TLoU obsessed friend and we squealed in delight at how good it looked! And the first time I heard the clicker sound....I shuddered, it was a very real physical reaction. If I'd been on the actual set and heard it, I think I would've run a mile.

And then, as I was still writing The British Connection, a fic set in The Boys fandom, I watched Triple Frontier, and, like so many others, fell hard for sweet Frankie Morales. So jumping the gun a bit, I decided to write something with him, just a drabble, to get used to writing him and to write in the Reader insert format. But it kind a grew in scope and when I had the idea of sticking him and the rest of the Triple Frontier boys into TLoU universe I knew I had to create something bigger.

Looking back I would've made the story tighter, less lengthy, had I known from the start that's where it was going to go. But part of the fun of fan fiction is posting as you go, I think. I get feedback from you guys and it makes me think of other elements to add to the story. There isn't always a set road map for how a fic is going to develop.

If you've made it this far, congratulations and thank you, I'm impressed you read all that rambling from some stranger on Tumblr! The Pilot and his Girl has a set plan now, I have chapters drawn up and although I'm not sure how many chapters I'm going to end up with, I know where the story is going. You'll find out what's happened to Pope, Will and Benny. And Joel and Tommy will of course come back to the story later on. There will be more trauma and angst as the story continues but there will be a happy ending, of sorts, in the end.

And again, thank you all for reading, commenting and reblogging! I love you all!

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