#and play with the same characters again

[inaconstantstateofchange]

#prev 'commit to your characters or the audience will be led to believe characterization was never important in the first place' god exactly#in general i think their edits in response to fan feedback consistently make the writing worse but this one really burnt me#last straw i guess#seriously tho i really do believe the time for this kind of tweaking ends when u hit publish on the full release#like blease quit trying to use several million people as line editors and stand by your story before u pander it into the ground#bg3 @s1ithers

I can't find the post because tumblr search is garbage, but i agree that it lowkey bothers me that they keep updating Lae'zel to be less "mean" when everyone else gets butthurt when you tell them to stay at camp

Let her be fucking grumpy!! By act 3 she's your BFF if you kept at being her friend, she's allowed to be grumpy and snarky like the rest of your companions

Like damn

WHY do you have to have women be polite and agreeable all time??? Reflect on this.

[poorly-drawn-mdzs]

I know those eyes.

[First] Prev <–-> Next

[emerynn-art]

was feeling kinda down this morning so i drew max six times and that seemed to do the trick

[bluediscotheque]

gamers may i present the comprehensive top 4 Lewis Pullman characters Venn Diagram

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[vampcaprisun]

what do y’all think illario’s hobbies are? what is he interested in? what does he do in his spare time? what does he know a lot about the nobody would expect? what did he love as a kid that he hasn’t thought about in years but could jump back into in a heartbeat if given the chance? what are his wyverns and cooking and knitting and romance novels?

who would he be if you took him away from his family and his job and the politics of it all? i don’t think he even knows the answer to that, but there still has to be an answer!

[kentuckycaverats]

moping about playing an oc for the last time feels so fucking lame. kicking rocks like haha yea i just get this like profound aching sadness in my chest when i think about her haha. yea the pretend character i made up who lives in my brain forever who i can create limitless new story for at any time. do you do euthenasia here

[babacontainsmultitudes]

AH. So that's why they put that content warning. I see!

[taigarrryen]

You know these tropes in stories where if you lose your soulmate you're left forever yearning for something just out of your reach, forever searching for something you can never find? That's me, JRWI Riptide is my soulmate. Send post

[lizzybeeee]

Southern Thedas:

The Veilguard:

[maythedreadwolftakeyou]

perhaps my most #cancelable videogame take i can post on this website is i think that the kind of people who say that anyone who picks the "morally wrong" or "mean" options in video game dialogue should, as a player, feel bad about their own choices/morals in real life. is that those people are just another flavor of the kind of dudes who play Disco Elysium and get mad for not being rewarded for picking the facist options. both of these groups are reducing games to "a thing I want to agree with me and everyone else who doesn't either suffers or does not have the option to play a character who behaves otherwise" rather than "a medium where you get to (or even Have to) explore different kinds of characters in order to experience the full depth of the story and characters in it."

When I want to pick options in a game that are mean, negative, arrogant, or ignorant, it's because I want to explore what would push a character into becoming that kind of person. Sometimes I want to see how the NPC characters who I-The-Player like/agree with react to someone who is fundamentally different from them. I think it's GOOD actually when the narrative allows you to push limits and especially when it has the option to then punish you for it in some way, such as losing options/routes later on, or companions straight up abandoning you for your choices. It DOES often make me deeply, viscerally uncomfortable to make choices in a game that are so counter to my own, but it means I get to experience that discomfort in an isolated environment and also think about what it means, what would push the character or even yes a real person into actually feeling those things. And I get to play with what ways the narrative could challenge them/make them grow over the course of the game--or on the other side, it can let me make a character who does start off more open/accepting but let the events of the narrative push them into being more reactively closed-minded instead.

I like that we have invented a medium where you can play a game multiple times and experience it differently depending on the character you play as. Books and TV and movies are all static--the greatest draw of games to me is the ones that are responsive, that can tell a slightly different story every time--when other characters in the game respond differently to you because of it, or some paths open up and others don't. And so yes it did disappointment me when a franchise that previously had these elements, Dragon Age, did not include them in the most recent installment. I don't think games should have options where you get to just hit a button to say something racist with no consequences or exploration into why a character would do that. but like, if i can only ever play a game as an upstanding person who is morally right all the time in basically the same flavor for every dialogue. I only get to truly play that game Once, you know? And I only get to see the way the companions react to someone they like and trust. And never really go deeper than that.

So like... I just sit and think about the scenes you can get in Inquisition. with Cassandra breaking down, because she fears she placed a would-be tyrant at the head of a powerful organization--that she searched and searched and chose wrong. Of Varric who is desperate to convince you not to become a monster, like the last person he feels betrayed him. Vivienne intentionally pissing you off because she wants to see how far you'll go when angered, how much she has to worry about your reactions. They say so much about the companions, what they fear most, and where they will draw the line. And especially in Inquisition, at these crisis points--you don't have to double down. Your character can have a come-to-Andraste moment where they go "woah... is that really how people see me? is this what i want?" and I think that kind of option can do way more for encouraging actual players to examine the choices they make in stories, more than locking the player into supportive, non-aggressive options does.

now. do i think all games execute these flavors well? no. writers and devs will have their own biases and blind spots, even if they are otherwise well-intentioned. and I don't think the ends of the scale need to extend from "absolute angel" to "horrible bigot", because the real complexity of course lies in the middle. I am not asking for games to let me be bigoted at every turn, what I want is games that let me make the protagonist deeply flawed in one or more ways--fearfully closed-minded to things outside their upbringing, or afraid of change to the status quo, or who want to advance their own aims regardless of consequences to others. I actually agree that the game was correct not to include any options for disrespecting Taash and their personal journey for example, but I do wish... idk maybe that we could have had a scene where if for instance the player character avoided outside-world missions relating to clearing away blight, they could confront us on how this might devastate the natural world and its creatures like dragons, and push us into trying to resolve it. Or in the other direction, if you spend the (currently meaningless) time giving money to background NPCs begging in the cities, Neve could could have a special cutscene thanking you for your attention to people otherwise beneath notice. You know?

And of course not every game can do this, I can write those sentences up there that represent hundreds of hours of dev time, of course they can't do it all. But the prior games usually did have at least a little of this, and that was enough to make me really fall in love. I KNOW the tumultuous development cycle, restarts from scratch, interference from higher-ups all contributed to why Veilguard was unable to hit those same marks this time. And we probably won't ever know how much of the loss of options/reactivity was intention vs a side effect of these things. But I wish people wouldn't frame players who miss these aspects as insane/morally corrupt. When for most of us it's because we genuinely enjoy challenging and exploring these aspects of reality in fiction in a way entirely unlike what we actually support in real life. i fully acknowledge not everyone desires to play this way. and that's fine!!! i am glad people can enjoy doing a "good" run each time that brings them joy. but for me it really limits the potential bounds of my enjoyment i guess. I like media that is complicated and messy and makes me think, and extra so when I get to see how playing that way impacts the greater story around it.

[astracora]

I get the point of people going 'banners aren't canon/have nothing to do with the lore' but... I feel like people are using lore incorrectly. Whatever your feelings about cat boys or catch22 boys, you can't just point blank go banners have no bearing on character that's a crazy statement 😭

There is some wild hypocrisy just specifically for this banner with people who were cool af with cat boys (which was crazy like sorry how did tiny cats be so op that they could TURN OFF someone's evol and suppress it and make them grow cat features and personality traits) now going this is too AU. (Kinda the point of an AU you know? The question is what would you have to do to make a character act like this.)

But I've also seen like? Sylus' Within Reach card named as having nothing to do with the story too ('you're just measuring his ass'). Like. Are you only watching kindleds and not playing dates? His entire card is about MC worrying about his health, realising they care more than they want to, and more suggestions that Sylus 1. Truly understands them that he can read those feelings on their face or 2. Is able to see into their dreams.

That's? Character building 😭 which by definition is part of their lore.

Even cat boys showed that? Zayne being more affectionate because he didn't have to worry about his EVOL going out of control. Raffy being more honest about his desperation for MC because it was harder to hide? Xavier showing more of his anxieties over not having MC in his life. Sylus showing he does everything he does FOR MC and no one else.

You're free not to like the new banner I'm not debating that, if it's not up ur alley that's super chill and very fair, unless ur out there being weird on main to people who are excited for it, but like. Saying it will have NOTHING to offer about the characters is a batshit statement that's fully untrue.

There's a very real thing to be said that no person is fully perfect and everyone is capable of being broken down. One of Zayne's main character beats is how EVER/Xander Sciences wants him for their experiments, and the question the game presents is 'what would we have to do to make this man abandon his morals'. You're about to potentially see that EXACT scenario in catch 22.

I'm not saying 'go pull' either. I'm saying, when it comes out if you're curious watch the date on YouTube, and see what character information the story offers you because seeing all the messy complex sides of a character is absolutely fascinating.

Whether they're even going to be that dark is up for debate, but I'm fully willing to bet that they'll have something to share about the characters themselves, that adds to the little complex web of their lore and build.

[wpmz]

other people have prob made this comparison before i did but how did flavor foley release static, the most tenna deltarune coded song, like a week and a half before chapter 3 came out. one of the lyrics is literally "don't touch the dial." like if i didn't know it came out first i'd wonder if it was inspired. planets aligning type of moment for both of these things to have come out around the same time

[poorly-drawn-mdzs]

More MDZS and Hollow Knight! The cool bugs I found in my backyard have started to unionize.

Part 1 - Part 3

[sorio99]

Knowing “Nerdy Prudes Must Die” was the first idea the Lang brothers had for Hatchetfield makes the whole series so much funnier.

Like, did they know in “The Guy Who Didn’t Like Musicals” that the weirdo who demanded a hot chocolate would be the leading man of the high school horror show?

Did they know the prude they mentioned a few times would be a homophobic murderer who defiled a corpse, fucked a ghost, and became a vessel for dark lords?

Was the homeless man joke in BEFORE the recast because they were still brothers, or not?

[iwritenarrativesandstuff]

I bring a sort of "flawed female characters can be fun and enjoyable blorbos - both flawed in terms of having character flaws and in terms of having occasionally flawed writing" that it appears many, many, many people do not like