#and then I'd have to come back like

[phantomrose96]

So I'm one of those people who had to take a break reading ABoT. Part way through reading I thought of that writing advice that goes something like "look at the current scenario and figure out how things can get worse" and decided ABoT was applying that advice with both fervor and finesse. It had me hooked through multiple all nighters and it wasn't until, ironically, the ending of chapter 37 where Reigen is standing in the remains of the Mogami house that I stared at the next chapter button and realized I would absolutely not be able to handle more, mentally or emotionally, if this fic kept following the previous advice. So I set it aside for a month to recover, tentatively poked into the next chapter tense and ready for things to continue spiraling, and gradually started to relax and unravel until...well, you know. I remember having to put my phone down and take a walk with the reveal of everything that Ritsu had incidentally caused (even if the blame can be pinned on basically everyone in some measure, but that's a whole other essay in my notes).

When I reached the current cliffhanger, I waited a scant day before starting all over, this time slower, more careful, and with a more analytical eye. Not for critique, but because I was confused. That writing advice from before, I'd seen it implemented both poorly and skillfully, and ABoT used it with a finesse I've yet to see anywhere else, and I had to figure out how. What made what can be boiled down to a high stakes wild goose chase so compelling? Why couldn't I put this story down until my emotional limit couldn't handle any more? How could I learn from this and make my own writing better? What did this have that I clearly lacked?

I don't think it was until after Teru's and Ritsu's first fight that it clicked for me. I stared at that scene, then my own characters, and realized I'd written two of my own meeting in a similar fight and had neglected any form of consequences. My characters became friends because of a mutual friend. Because that was the end goal I wanted. I had that omniscient knowledge; I knew I wanted them to end up as friends, so I wrote the most objectively logical decision to make.

Except. These characters aren't objectively logical. They make the decisions that look the best to them in the moment, even if those decisions are bad, or horrible. A character who's been soundly beaten into the ground by another won't so easily become their friend, even if their opponent is the nicest person ever. There's distrust and fear. They're going to make bad decisions. Things weren't getting worse for the sake of getting worse. They got worse because of the direct (bad) decisions of the characters.

Once I realized that, I was struck with such violent inspiration I wrote something like 11k words worth of scenes and revitalized my own love of writing in a day. I was so stuck on the end goals I forgot about the struggles in between. I had gotten so focused on grand, overarching conflict, I forgot how compelling it can be to just have two characters punch each other in the face. Too much of my writing had stuff happening around the characters instead of happening TO or BECAUSE of them. I had forgotten character conflict, and when I started writing those flaws, I couldn't stop. I was having too much fun!

Sorry for rambling about my own stuff, I just wanted to convey how much impact you and ABoT have had on my own creative endeavors. I've been inundated with too many stories, fics, movies that occur on such big planet-wide scales with dire, multiverse threatening levels of conflict, that when presented with a long form tale of a kid desperate for his missing brother, told from the perspectives of a small, well developed and spectacularly characterized cast, in a single city, told with stakes that made me care more than any threat to the world, it was like a breath of fresh air. So I guess this is a thank you for ABoT as a whole and a thank you for writing Ritsu the way you do.

Unfortunately for him, he's an inspiration.

AAAAAAAAAAAAAAAAAAAA YES YOU GET IT YOU GET IT YOU GET IT

ABoT, if nothing else, is a story about its characters. Everything that happens with consequence to the plot can be traced back to a character's own decisions. The characters' wants and needs and actions and faults all come first, and the plot follows accordingly.

(And maybe that sounds obvious.) Aren't stories about characters? But there are so many stories where the characters are just kinda... there. They're blank slates to receive the plot happening around them. Many things they try to do have no consequence. They'll try to take action and the plot will carry on exactly the same as though they'd never even tried, because the writer doesn't want to figure out how that character action might matter. Or a character will do something awful and the plot will just brush past and forget, no consequences or continuity, because the writer had their fun in the moments but now they care about getting the plot back on track, and that would be annoying to work around. They create stories where you can't put your excitement and investment in the characters cuz you just... can't trust they'll matter.

The most important thing about ABoT, to me, is that the characters are making it happen. The good, the bad, can all be traced back to decisions characters had the active choice in making.

I have plenty of fun joking that ABoT is one of those "oh my god it keeps getting worse!!!" stories, but I never ever do that by just dropping random terrible things from the sky. It's always the characters. It's them and it's their consequences of everything they've set in motion, or fought against, or allowed to happen. It's always a thread, thoroughly traceable, spawning from character actions which drives everything both good and terrible (and SUPREMELY terrible) that happens. It will always be the characters.

And I really, truly believe this is what I'm doing to make what is ultimately a wild goose chase featuring less than a dozen people worth reading. When Ritsu fucks up, it's worth caring about because you know this will impact the course of the story. When Reigen succeeds, it matters because he does have a grip on the reigns of the plot and has the chance to better this for everyone. When a character does anything, it matters because is about them, and what they're desperately trying to achieve.

And when a scene isn't about "an action with a consequence", it's still a scene with a point. For any scene I write I always make sure I can answer "what's the point of this scene?" Mob and Reigen reopening Spirits and Such isn't about to barrel the plot forward, but it's hearty and important character development for them. It's the "why should I care about this future being snatched from their grip" when everything goes wrong.

When everything went bad bad around chapter 32, and tumbled worse for many chapters to come, it was me finally tipping over the first domino in a chain of dominoes the characters themselves have been setting up since the start. It went bad not because I arbitrarily decided to fuck with them, but because everyone's actions carried consequences.

Even with ABoT's WORST possible outcome, where Mogami comes out the victor with everything he wants, all others crushed beneath him, this will mean the ruination or death of about... 10 people. A blip on the news. An "oh isn't that sad?" when a second kidnapped son never makes it home, when a conman goes missing (not noticed until a month later when the rent comes due), when a police officer kills his wife and himself, when an orphan kid vanishes off the map from Black Vinegar mid. And life would carry on. And the sun would still rise every day. And no part of this would end the world.

But if I'm doing this right, I want that outcome to feel like the end of the world. I want it to feel worse than that, given what a quiet and unsung tragedy it would be for all these personal efforts and struggles and desperate reaches for betterment are snuffed where they stand. Because they tried and it mattered and they failed anyway.

It IS just a wild goose chase centering around a kid who wants to have his kidnapped brother back, and it's 350k+ words to me.

dfjkdfnkjdf so anyway, I am very clearly super thrilled you were able to see this! It all ties back to character weaknesses and strengths, consequences of actions, irrational responses to situations fueled by character, and not by logic, and the audience knowing that what these characters do will matter. I love stories where humans are messy. I love stories where the tragedy happened because of them, where you can trace the thread back and find exactly how it all went wrong. I love clashing personalities. I love character spirals you can see a mile away and yet you know exactly why the character did that. I love yelling at the pages while knowing that realistically, this character wasn't going to do any better than that. I love knowing exactly how things could have been avoided, and knowing exactly why they happened anyway. I love seeing consequences stick. I love seeing characters matter. And I'm goddamn thrilled you feel that way too and that ABoT could make you find the way to do that in your own characters!!!

[the-vivi-section]

that one scene in farewell my turnabout

[eats-a-berry]

i wasn't sure exactly what i thought adult gideon should be doing, but i DO quite like the triple combination of cowboy-biker, drag queen, and used car salesman at the same time. she's always a busy person!

[inkskinned]

there are a lot of posts out there that are positive and healthy coping mechanisms for handling the holidays. this is not one of them :)

i think there's like. going to be times in your life you will be stuck in a social situation that you cannot escape from gracefully. i do not know why the internet doesn't believe these times exist. it's not always just that your physical safety is at risk - sometimes it's legit like "i just don't currently have the energy or time to put in the effort of responding to this." sometimes it's a coworker you hate so much. sometimes it's just like, fine, you know? like you know you can handle your aunt when she's cheerily horrible, but if you actually set a boundary around her, it's going to be weeks of fallout with your father.

i don't know why people think the answer is always just "cut them out!" or "don't let them get away with that!" because ... the real world is tricky and complicated. i think kind of a lot of us have an internal "radiation poisoning" meter for certain people. like - i'm talking about the ones who are absolutely giving you gradual ick damage. like, you can handle them, but you'll be exhausted.

and yes. you absolutely should listen to your therapist and the good posts about handling others and set good boundaries and take care of yourself. prioritize peace.

HOWEVER :) ...... since im often in a situation with a Gradual Sense of Ick person i cannot just "cut out" of my life (without losing someone else precious to me) - i have sort of developed the most. maladaptive form of mischief possible. because like, if i'm going to have to listen to this shit again, i like to have a little bit of private fun with it.

now! again, i am physically safe, just mentally drained by this man. you should only do this with people you are not in danger with. which leads me to my suggestions for when your Unfortunate Acquaintance shows up and says oh everyone pay attention to me.

my favorite word is "maybe!" said as brightly and happily as possible. whenever the Horrible Person starts in on a topic you do not want to go further with, particularly if they make a claim that you know to be inaccurate, do not respond to it. you and i have both tried to actually argue with this person, and it hasn't gone well, because this person just wants the drama of an argument. however, "maybe!" gives them literally nothing to go on. it is incredibly disarming. they are used to people having some response. they know they can't prove what they're saying, and maybe! treats them like the child they are. it dismisses them in the politest way possible.

i like to say maybe! and then, in their stunned silence, immediately change the subject. this is because i have adhd and i will have something unrelated to talk about, but if you can't think of topics fast enough, i recommend just pointing to something and saying, "isn't that lovely?" because fuck you let's bring in some positivity.

by the way. that second trick - of pointing to something and stating an opinion about it? - that just works on its own, like, 70% of the time. i picked it up from teaching preschoolers. it's an intentional "redirect". it stops children crying and it also stops grown adults from finishing their explanation on why women belong in kitchens. dual wielding!

keep it silly for yourself. i absolutely do not care if people think i'm fucking stupid (it's more fun if they do) and as a result i will purposefully misunderstand things just to see how long it takes them to realize i've completely removed them from the subject at hand. when they say "women aren't funny" i get to be like. "which women." "all women." "all women in america?" "no in the world." "like the mole people? the people in the world?" "what? no. like, alive." "oh are we not counting the mole people?" "what the fuck are you talking about." "you don't believe in the mole people?"

similarly, i play a personal game called "one up me." my Evil Acquaintance literally knows this game exists (my family & friends caught onto it and now also play it) and it always fucking gets him. i don't know why. you have to be willing to be a little free-spirited on this one, though. the trick is that when they make one of those horrible little bigoted or annoying comments they are always making, you need to go one unit weirder. not more intense, mind you - just more weird. "you don't look good in that dress." "yeah, actually, my other dress was covered in squid ink due to a mishap at the soup store." "you shouldn't wear such revealing clothes." "wait, what? oh shit. sorry, your son tears off strips when no one is looking and eats them. i swear it was longer before we left the building."

the point of "one up me" is to completely upend this person's narrative. we both know this person likes setting up situations where you cannot "win" and then they really like telling other people how badly you handled it. in a usual situation, if you respond "please don't say something that rude", you're a bitch. but if you let it happen, you're letting yourself be debased. they are not usually expecting door number three: unflappably odd. because what are they going to say when they're telling everyone how badly you behaved? "she said my son eats her dresses" ".... okay?"

if you can, form an allyship with someone whomst you can tagteam with. where they can pick up on your weird "soup store" story and run with it.

the following phrase is amazing and can be deployed for any situation: "oh, be nice :) it's the holidays!" i do not know why this works as often as it does. i'll say it for the most random shit. i think this is bc most of the time these people know they're being impolite, they just like to fight.

godbless. when in doubt, remember that you could always start stealing their pens.

the whole point of this is - if you can't escape. maybe see how long you can just be. like. a horrible little menace.

[knifearo]

ultimately when it comes to shipping and fandom space treatment of aspec characters i just don't accept "aro/ace people can still date/have sex" as an answer from nonaspecs. like yeah. mhm. okay. now i think we both know that you're not saying that out of real interest in the diversity of aspec experiences. so you can turn in your seventeen-page essay on why and how you plan to examine this character's aspec identity within the context of a romantic or sexual relationship complete with evidence from canon and peer reviews from multiple aspec people within the next week or i'm putting you in the pit from the edgar allen poe story

[tubbytarchia]

really awesome interaction (x)

[biblically-accurate-dca]

substitute

[wrmhles]

Lt. Ronald Hollenbeck states: Cleven buzzed the tower with my airplane with all four engines feathered. That’s the kind of guy Cleven was. I had just gotten a couple engine replacements, and he didn't get to fly too much being squadron CO, so he comes over and says; "Hollenbeck, let me fly your airplane for you, I'll put some slow time on it" and the next thing I knew, is this God d--n B-17 was coming across just about 25 feet off the runway and I looked up and all 4 engines were feathered. He (Cleven) said "I wanted to do that all my life." (x)

GALE CLEVEN + GAMBLING [part 1/?]

[yashley]

[kazanskyy]

iceman + his concern for maverick post-hop 31

[doveshovel]

Saw something going around a while ago about where SSO OCs live, and it motivated me to do a background for once :')

[bixels]

What did/do you like about Pharah?

Uh, gameplay-wise, I really love characters in shooters who rely on three-dimensional movement techs. Chaining together hover and jump to stay in the air for as long as possible and keep momentum is so satisfying, and picking enemies off from the sky made me feel like a bird of prey. I was a good Pharah main.

Story-wise, there unfortunately isn't much to canonically go off because Pharah is so underutilized and neglected. Her personality's pretty boilerplate "heroic hero" (she's literally inspired by Captain America).

But it's the crumbs/bits and pieces that I really latched onto. Pharah's a confirmed lesbian; her short story with Baptiste implies she harbors a crush on Mercy (fucking thank you.). She's biracial Egyptian/First Nations. She has major mommy issues, having grown up both admiring and resenting Ana. She's the bridge between Old Overwatch, inspired by the idealized heroes who surrounded her childhood, and New Overwatch. She's one of the only inter-generational characters in the cast; someone whose experiences span the gap, which is why I seriously believe Pharah would make a great main character.

There isn't much to go off of, though; she's a very uncomplicated character (she's a soldier for a private military corporation, lol.). But that just means she's a blank slate character, so I've seen fanfic writers run wild and create some really interesting takes on her. My favorite interpretation of her's a dense, herbo gym-bro type (a lot of her liens are about work outs, exercising, and playing sports) who's easily excitable under her seemingly self-serious, armored visage. We see how she tends to gloat and hype herself up when she's on a streak too, so Pharah definitely has a competitive and boastful side under her more professional and militant performance.

Now Mercy? Mercy is a real complex character.

[jontaro-kun]

God I love women I wish they were real

[shadyufo]

A lovely little friend hanging out in a baby UFO plant I repotted recently <3

[ghoulspaw]

Jiro is so real

[ineed-to-sleep]

*me immediately after going through a terrifying and traumatic experience* haha yeah I guess it was rough but I'm fine now like I'm totally chill. It was kinda funny actually if you think about it