#best React Developer Tools

[techygrowth]

In this digital world the demand for new apps & tools are increasing. With the right tool developers can create usable web applications. Developers can also create better code with react tools, That also goes for full-stack developers. Story book is designed for user interference. Developers use it to  test UI components and provide you with both a UI component playground and a development environment. Bit provides an online platform where you can publish UI components, it provides flexibility to developers. Rekit is an all in one tool for react applications.

[thepearl256]

Top Tools for Web Development in 2025

Web development is an ever-evolving field, requiring developers to stay updated with the latest tools, frameworks, and software. These tools not only enhance productivity but also simplify complex development processes. Whether you’re building a small business website or a complex web application, having the right tools in your toolkit can make all the difference. Here’s a rundown of the top…

[sabelacarsonsblog]

Best React Native UI Libraries for Stunning Design

Discover the top React Native UI libraries that can transform your app's design into a stunning masterpiece. Elevate your user interface with these exceptional tools.

[topazadine]

Writing Post Masterlist

All my posts about writing - plus some I absolutely loved by other writers.

Masterlists by Other People (all good)

"Writing Tips Masterpost" by @deception-united - Deception-United has an incredibly wealth of resources available, far more comprehensive and detailed than mine. Go check it out!

"WQA Post Master Lists" by @writingquestionsanswered - Another fantastic and wonderfully comprehensive resource that covers damn near everything you need to know about writing. Genuinely one of the best free resources on writing that you could find on the internet.

General Advice for a Happy Writing Life

"The Myth of the Martyr Artist" - An incredibly important post, perhaps my most important one ever, that discusses why mental illness is a burden, not a benefit. I have no idea why this even needs to be said, but it does, apparently.

"Building Self-Esteem as a Writer" - Why you gotta be nice to yourself. You gotta.

"Identifying bad writing advice" - Warning signs that the post you are reading kinda sucks and you should click off.

"Advice to Beginner Writers: The Good, the Bad, and the Unpleasant" - How long it takes to become a good writer, what to focus on when learning, and why fanfic is such a useful tool.

"Mindset Shifts: Fanfiction -> Original Fiction" - What fanfic writers should know about deciding to take on original characters and stories.

"Defeating Protracted Writer's Block" - What to do when you find it impossible to write for days, weeks, or months at a time.

"Five Common Anxieties of Newbie Writers, Demystified" - Explorations of five mindsets that can set younger writers back as they learn their craft, including overcompetitiveness, overdescribing, and fearing they're "too old."

"Good Motivations for Continuing to Write" - Why it is crucial to have a passion for writing beyond fame and fortune.

"Extremely controversial writing opinions that will make you mad (but I'm going to say them anyway)" - Things you really don't want to hear, but need to be said. A bit of tough love, including the insignificance of ideas, the cold hard truth about how non-writers react to your writing, and the essentiality of having a well-rounded life.

"Why Mindfulness Is a Key Practice for Writers" - On the need to slow down and let our brain rest - plus some options that are categorically not sitting there in dead silence (boring).

"Writing When Happy" - Wherein I hijack someone's question to discuss the Myth of the Martyr Artist, why we might self-limit because of it, and how to do the impossible: write when we're happy.

"The Neurodivergent Writer’s Guide to Fun and Productivity" by @bookishdiplodocus - Excellent advice on how enjoying the process and reminding yourself that writing is supposed to be fun can help you stay motivated and productive, even when your brain is not cooperating.

"The Glorification of Self-Deprecation in Art/Writing Spaces" by @nicolkoutoulakiauthor - I've discussed before how crucial it is to have a healthy self-esteem when writing, but Nicol does it even better here. Nicol also includes some excellent reframing tactics so you can stay motivated.

Generalish Writing Advice (multifactorial)

"Signs That You Will Probably Finish Your Writing Project" - An analysis of the mindset that leads to results, and encouragement on how to develop them.

"'How Do I Start Writing?'" (Or; A Psychoanalysis of Newbie Writer Fears) - Inspired by the dozens of Reddit posts that ask this exact same thing, often with useless responses. So why do people ask this? I offer my theory.

"I Can Think of Ideas But Can't Write Them!" - A consideration of the many reasons you might find it difficult to get started on your precious idea-baby.

"How to elevate your writing style with 6 simple hacks" - Information about how to develop a prettier prose style, catch errors, develop good dialogue, and focus on brevity.

"How to improve your writing style : a 5-steps guide" by @writer-logbook - Especially great information on why reading widely is so helpful for your craft!

"Some Writing Advice" by @whispers-whump - Especially great discussion of why you shouldn't write what you mean.

"Practical Writing Advice Part 2" by @so-many-ocs - Does what it says on the tin. Simple, easy-to-follow advice that can break you out of writer's block.

"25 Prose Tips for Writers" by @thewriteadviceforwriters - I absolutely love the emphasis on sound and harmony here. As someone whose entire book series revolves around the magic of poetry, of course I think this is incredibly important advice!

"Pacing and Show Don't Tell" by @mylordshesacactus - Two for one deal! First, learn more about why pacing is important; then, look at some examples of the classic advice "show, don't tell." The post does a great job on breaking down what show don't tell actually means and what is not a violation of this guideline so that newer writers aren't confused.

Writing tools

"How to Build a Sustainable Writing Habit Through SCIENCE (Fuck Off, NaNoWriMo)" - Why NaNoWriMo doesn't actually motivate young writers and how to do better through a spreadsheet (yes, really, a spreadsheet). It also explains the importance of intrinsic motivation!

"'I've Outlined Too Much and Now I Can't Write!' (Or: the Double Outline Method for Overanxious Plotters)" - Some of us tend to go absolutely ham on our outlines, to the point where they're practically their own books. But then we also tend to not actually do the writing attached to said outline. Does this mean outlining is useless? Of course not. My method lets you have your outline and eat it too. (.... Wait.)

"'How Do I Make Myself Start Writing?' (Tips to Get the Damn Thing Done) - In this post, I provide a step-by-step guide to start writing, including a few tools to help improve motivation and concentration.

"How to Write Faster (And, Hopefully, Better Too)" - Eliminating distractions and forcing your brain to write is key to getting more done. Here, I explain how you might be limiting yourself by too much thinking and not enough doing.

Worldbuilding

"Stop Making Everything So Damn Complicated!" - Why fantasy (and scifi) does not need to be dizzyingly intricate to be enjoyable.

"How to Kick Ass at Worldbuilding" - I offer some suggestions on how to create a grounded and interesting world that will not bore your readers, based on real life examples.

"Grounded vs. Airy Fantasy" by @aethersea - Excellent breakdown of different levels of groundedness in fantasy and why it's important to understand your own approach.

"Fantasy Guide to Building a Culture" by @inky-duchess - Thorough and methodical analysis of what can create a compelling fantasy culture, including those things that many fail to think about when writing.

"Writing tip - Research" by @pygmi-cygni - Fantastic assessment of the importance of research, including for fantasy stories. As Pygmi-Cygni said, a lot of people claim that they don't need to do any research for fantasy novels, which isn't true! Any parallels to IRL need to be realistic, or you will lose credibility.

Plotting

"How to Use Chomolungma for Writing Adventure Stories; Or, the Plot Mountain Method" - If you're sick of saving felines who should really figure their own shit out, it's time to head to Plot Mountain. In this post, I offer you an alternative to the formulaic "Save the Cat" and "Hero's Journey" which also incorporates tension, characterization, and forward momentum.

"Avoiding Melodrama In Your Writing" - The most annoying all things: melodrama. My least favorite thing. Do not do it. I will show you how.

"How to Find a Plot When All You Have is Characters and Setting" by @rheas-chaos-motivation - This is a common problem for many writers, when you have cool characters or an intriguing setting. This short post can help you kickstart your ideas for how to create an intriguing plot that has built-in tension.

Description

"Remembering Perspective When Writing Descriptions" - Key factors to think about when describing other characters or settings from your POV.

"Description, Momentum, and Tension; Or, How Not to Bore a Reader" - Why, when, and where to put description so that people don't skip over it. Hopefully.

"Writing Notes: Seasons" - Each season has both benefits and downsides. In this post, we look at the negatives and positive aspects of each so you can decide how a particular season may strengthen your themes - plus some descriptions to help inspire you.

"Writing Advice: Spicy Mundanity" - Wherein I explain how to stop having boring descriptions by packing in characterization.

"How to Write Smut?" by @unfriendlywriter - Wonderful examples of how to write heartstopping smut.

"How to pull off descriptions" by @fictionstudent - Fictionstudent has a ton of great posts, both about film analysis and about the art of writing. I especially liked this one because it discusses how important perspective is for descriptions and the importance of filling in the details as a character would rather than just throwing it all at the reader at one time.

"How to avoid White Room Syndrome" by @writerthreads - Fantastic and focused advice on how to ensure you're offering readers just enough setting to help them envision the world.

Characterization

"Writing Relatable Characters; Or, Using Human Failures to Your Advantage" - Explaining how you can use character flaws and human needs to create a relatable character. Also explains the basic development of a plot, which is about equilibrium.

"How NOT to Write a Character" - Wherein I give you some examples of annoying characters we want to punt off a cliff so you can watch yourself.

"Writing Strong Female Characters" - Why you should give your female characters a secret goal, as well as how to avoid common 'strong female' stereotypes.

"Writing Compelling Trauma in Fiction: Dos and Don'ts" - How to avoid melodrama and create intriguing emotional wounds for characters.

"Quality Assurance Checks for Character Development" - Thought exercises that can help you differentiate characters, prune down unnecessary characters, develop true chemistry between LI and MC, and avoid having too many POVs.

"Developing Character Agency (Or; Cutting the Plot Strings)" - A discussion of character agency and how to ensure your characters are not bound by the narrative.

"Writing Notes: Thought Distortions" by @literaryvein-reblogs - Some psychological concepts you can use in your writing to add depth to characters.

"Questions about your character’s perspective on love and relationships" by @luna-azzurra - Excellent questions that can help you delve into your character's attachment style, what baggage they may bring to a current relationship, and how to create conflict through mentality.

"How to Write a Confession of Love," also by luna-azzurra - Perfect discussion of how to create tension, the utility of setting, not making it perfect, and including the other character's response.

Revisions

"Common Writing Issues that Reduce Readability" - Examples of fixes for four common issues: double describing, long sentences, overexplaining, and head hopping.

"How to Avoid Purple Prose" - A critical part of the revision process is making sure your writing is clear and balanced. In this post, I show a blatant example of purple prose and provide suggestions on how to make a more elegant passage.

"Differential Diagnosis When Your Writing Is Getting Worse" by @ariaste - Fantastic explanation by a professional writer about why you might feel like your writing is getting worse and what to do about it.

"How to Make Your Writing Less Stiff Part 3" by @physalian - Physalian's whole blog has some excellent advice, so definitely give it a look!

"How to Improve Your Writing" - Also by literaryvein-reblogs, this offers some excellent exercises to help with sentence-level issues, such as modifiers, parallelism, and details.

Publishing

"How to promote your book online : a discussion about social media (and few tips)" by writer-logbook - Great tips about how to get more interest in your book. I especially enjoyed the emphasis on patience and consistency. Writer-logbook has some excellent info overall about the nitty-gritty of writing, so I definitely recommend poring through their blog in general. (That's why they're included here twice!)

"A masterclass in how not to market your books, in one singular tweet" - Wherein I help you derive lessons from an abysmal tweet by an author.

"Mistakes I Made When Self-Pubbing My First Book (Part 1: Mindset Edition)" - I talk about how being delulu is not the solulu, that yes marketing is important (even if it is horrible), and how a bit of self-confidence can go a long way.

"Mistakes I Made When Self-Pubbing My First Book (Part 2: Presentation Edition)" - Graphics and covers and blurbs! Learn about them. Do not do what I did.

"Mistakes I Made When Self-Pubbing My First Book (Part 3: Ads and Reviews Edition)" - Why you have to get reviews. You gotta. And you gotta demand them. Shake those reviews out of your readers. You'll thank me later.

Specific Research Advice

"Assassination Methods Through the Decades: A Writer’s Handbook" by @hayatheauthor - A thorough review of different assassination methods, including a section discussing common assassination methods by region!

"How to Write Someone in a Wheelchair" - A group effort! This is a reblog chain discussing body language in manual wheelchairs, the mechanics of power wheelchairs, wheelchair propulsion methods, and a reminder that just because someone is in a wheelchair doesn't mean they can't walk short distances.

"Writing Research Notes: Caves" - Oh caves how I love them. Caves. Let me tell you about them if you want to write about caves. Blessed.

"Writing Research Notes: Horses" - A beginner's guide to horse mindsets, whether horses like working, approaching horses, how to ride, and tips on training.

"Writing Research Notes: Bipolar Disorder" - Written by me, a writer with bipolar disorder! This shares basic facts about bipolar, offers a list of symptoms you can use, and cautions you against spreading misinformation through poor characterization or myths.

"Writing Research Notes: Politics" - I provide a quick overview about governments and international relations, based off my suffering while getting an MA in International Relations.

"Stop Doing This in Injury Fics!" by @pygmi-says-hi - Discusses some common errors when writing whump/angst. The fever part was especially helpful for me!

"Writing US Military Characters" by @lookbluesoup - An explanation of the habits and mentality of US military characters. Many of these were quite helpful for my fantasy military characters, so you can get a lot of mileage out of these for soldiers in other militaries too!

Little Funsies

"What Painting Style Is Your Writing?" - A short exploration of different writing styles to help you better understand your own approach.

I'll be adding onto this as I continue to scroll through my old likes and, of course, as I find more resources.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[literaryvein-reblogs]

Character Development: Obstacles

At the heart of any story is a main character on a quest to resolve a conflict and reach a desired goal. A writer’s job is to make the story compelling by placing obstacles in the protagonist’s way.

Obstacles - a literary device that can build tension, transform characters, and propel a story in a new direction. Obstacles—combined with a protagonist determined to overcome them—are essential elements of a great story.

Ways to Use Obstacles to Enhance Character Development

The best way to accentuate the tension, raise the stakes, and fast-track character growth in a story is to create problems for your character that threaten to derail their journey. Here are ways you can introduce obstacles to enhance your story:

Use obstacles to reveal character motivation. As a writer, you need to understand what motivates your characters and how they respond to problems. If it helps, work on some basic character development exercises. While you should flesh out the basics, like the character’s personality traits, mannerisms, physical appearance, and quirks, you need to know more about their life and what they’ve been through to figure out what motivates their actions. In the actual story, obstacles will illuminate your character’s motivations by drawing on these attributes. This will help you create a dynamic and relatable character.

Layer obstacles for deeper tension. Obstacles can be literal—a physical person or object that stands in the protagonist’s way—or they can be unseen forces acting against a character. Use both types of obstacles to layer tension and create a story with texture and depth. For example, weave an internal conflict into the storyline, and create a way that a character’s beliefs are challenged by their problem-solving actions.

Use subplots to complicate things. Every subplot needs a purpose. Write subplots for secondary characters that ultimately create complications for your protagonist.

Put obstacles in your antagonist’s way. Why should your protagonist have all of the problems? Make your antagonist more than just the bad guy. They need everything your main character has—complexity, backstory, problems, and obstacles. Figure out what their motivation is for going against the protagonist, and slow down their chances of success with obstacles.

Use obstacles to build a transformative character arc. Just when things are looking good for your protagonist and it seems like they’ve found a solution to their problem, put up a barrier to impede their progress. Obstacles are a force for transformation that creates memorable characters. When a character changes over the course of a story, they become more three-dimensional and intriguing. Think of Scrooge in A Christmas Carol. Each obstacle he meets changes him until his encounter with the Ghost of Christmas Future and his final transformation.

Reasons Problem-Solving Is Important in Storytelling

To overcome obstacles, fictional characters need to develop problem-solving skills. Creating challenges for your protagonist is an important element in storytelling for several reasons:

Problem-solving propels a story forward. Every story hinges on a character facing a problem. When the main character’s dilemma is revealed at the beginning of a story, most often during the inciting incident, it establishes the purpose of the plot. The main character’s journey as they navigate obstacles and solve problems drives the narrative arc through to the end of the story.

Problem-solving skills are a powerful tool for character development. When real people face challenges in real life, they reveal a lot about themselves by how they react. When you put obstacles in a character’s way, it’s an opportunity to reveal deeper details about who they are by how they respond. If you ever have a story with a flat character, give them a situation that forces them to employ problem-solving skills and watch them come to life.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[raymurata]

Bellara's main choice and DAV's implicit (or accidental) stance on book burning

Okay, so. Prefacing this with -- I enjoyed the game. I'd even play it again. That being said, one of its biggest flaws is trying to deliver something so morally sanitized it shies away from giving its characters (aside from Solas) and plotlines (aside from Solas's) real nuance. And in the same breath, they end up sending messages that I doubt they intended to send.

Bellara's main decision is particularly annoying to me.

First, I find her arc to be lacking -- She starts the game grieving her brother and blaming herself for his death despite not being responsible for it, then she finds Cyrian again only to grieve him again, so she's back to the start, only this time she has had the guilt removed from her because Cyrian tells her what she needs to hear, and the blame is placed on a big bad evil. Fair, fine.

But I don't like the cinematography of that scene at all. There was plenty of time for Rook and Bellara to react between Anaris grabbing Cyrian's foot and throwing him at the wall. People in Thedas have survived way worse injuries, too, and Bellara literally has healing at her disposal. Why doesn't she even try? His death is clearly plot-driven but it doesn't take her arc forward all that much? But again, that's fine. Not too bad.

But then the choice I have to make for her is whether or not to keep the archive, why? At no point in the game (please correct me if I'm wrong and missed canon information that contradicts me. That would make me way less angry!!!) do they tell us that it was Bellara using the Archive that summoned Anaris, or that it could summon him at will. As far as my interpretation goes, the Archive is, as its name says, the equivalent to a library curated by a comically self-aggrandizing jerk. At no point do we hear it share any actually dangerous lore either, do we? No blueprints for nuclear weapons...

So why does the game choose this wording:

Now, unless the Archive has powers we are unaware of, what this is saying is basically "burn the ancient elven library (it will be safe)" or "don't burn the ancient elven library (it will be dangerous)" and, for a game that is so irritatingly set on giving you only 2024-morality-board-approved goodTM and unproblematic companions and allies... Why does it tell me that burning books is the safe option, ESPECIALLY given that these books are priceless historical artefacts from a marginalized and subjugated ethinic group who have long lost their history to genocide? Like, wut?? Even if the Archive were in fact a dangerous weapon, the game shows us through the Veil Jumpers' vault that they have trained capable scholars and developed (or are developing, with Bellara spearheading it) safe tools to study and keep these artefacts. How condescending is it to tell them that they won't be able to safekeep this one? How pointless? (and her cutest armor AND best skill are locked behind that choice? outrageous lmao.)

And what pisses me off is that they had everything set up already, they just had to deliver it differently. If they told us explicitly that the archive is Anaris' phylactery and that keeping it would mean allowing Anaris to eventually come back? THEN we'd have a real danger. NOW there is a non-fascist risk to maintaining knowledge.

Or what if the only reason Cyrian is back is because Anaris brought him back? What if Cyrian's life is therefore tied to Anaris', and you had to choose between letting Anaris live (perhaps that results in him getting imprisoned in the Archive, tampering with the information in it and destroying its historical value forever, plus Anaris might one day figure out a way out) or killing Anaris for good even knowing that Cyrian will also die again if you do (but then the Dalish get to keep the archive and all the knowledge in it, and Cyrian's sacrifice is not in vain)? Or maybe... The Archive is a spirit, isn't it? Drive home the fact that being tied to that device was a cruel thing Anaris did to it, and keeping it there is just as cruel, even if it would mean giving the elves access to information. Make the wording "free the archive" really mean something here, and the player really think that the knowledge will be lost. Then maybe have it that, if she frees it, it gives her information freely and with its own interpretation of that knowledge, and THEN it leaves (so it's not forever but there is a reward for being compassionate). And if she keeps the spirit in the device, then it is always rude and it gives her information curated by Anaris' point of view, but it is available to all upcoming generations. It'd be real nice and nuanced to pit her compassion against her drive for knowledge. If this were DAO or DA2, you wouldn't make the choice FOR HER. You'd make the choice yourself because you are the leader, and if you chose to keep the spirit, you'd garner lots of negative points with Bellara (and with Emmrich) because, let's be honest, she is written as inherently more compassionate than driven, and she'd resent you making an oppressing choice even if it is well-meaning and good for her people (just like Alistair resents you killing Isolde even if he understands it was a difficult choice).

I just... So many ways it could have been an actually weighted choice, or that it could have affected your relationship with Bellara (and other companions) as Bioware RPGs were wont to do. They had a good set up, but the landing was absolutely bonkers.

[hayatheauthor]

can you write some tips on writing amnesia for a character? <3

Note: thank you for your ask! I'm sorry for replying so late I took a break from Tumblr for a bit.

In this guide, I'll be covering a balance of information on amnesia and how to write it. Some topics I mention are the types of amnesia, how they impact characterization, and how to write a believable portrayal of memory loss. I hope this blog is to your liking anon.

Understanding Amnesia: Types & Realism

Amnesia is not a one-size-fits-all condition. There are many different types of amnesia and each has unique effects on a person’s ability to recall past events or form new memories. You should research the type of amnesia you're going to use in-depth before incorporating it into your writing, but here's a quick breakdown of the types: 

Retrograde Amnesia – The inability to remember past events while still being able to form new memories. This is common after traumatic brain injuries.

Anterograde Amnesia – The inability to create new memories while retaining past ones. A well-known example is the film Memento, where the protagonist loses the ability to form new long-term memories.

Dissociative Amnesia – Memory loss resulting from psychological trauma rather than physical injury. In extreme cases, this can lead to fugue states, where a person travels or assumes a new identity with no memory of their past.

Selective Amnesia – The loss of specific memories, often linked to a traumatic event.

Transient Global Amnesia (TGA) – A rare, temporary condition where a person suddenly loses memory for a few hours or days before recovering.

Many fictional portrayals of amnesia tend to exaggerate its effects or resolve it in unrealistic ways. In real life, memory loss is rarely total, and individuals often retain habits, motor skills, and emotional reactions even if they don’t recall specific events.

Choosing the Right Type for Your Story

Amnesia can be used in various genres, from psychological thrillers to fantasy epics. It's often a plot device or opportunity for character development, so it's important you pick the right type of amnesia.

A thriller or mystery might use amnesia as a tool to conceal crucial information, allowing the protagonist to uncover the truth alongside the reader, in which case Selective Amnesia might be a good fit. A romance could explore the emotional toll of memory loss on relationships, where one partner remembers everything while the other has Retrograde Amnesia and forgets them.

If your story revolves around identity and self-discovery, dissociative amnesia or retrograde amnesia may serve the plot best. If you want to create suspense by limiting what the character can learn over time, anterograde amnesia can add significant tension.

Take some time to consider why your character needs to have amneisa, what you plan on achieving with it, and whether or not you want them to recall what they've forgotten. 

Characterization & Emotional Impact

Amnesia isn’t just about forgetting—it fundamentally changes how a character interacts with the world. A character suffering from memory loss might experience:

Fear and paranoia – Who can they trust if they don’t even trust their own mind?

Grief and loss – The realization that they’ve forgotten people or parts of themselves can be devastating.

Frustration and helplessness – Simple tasks may feel overwhelming, and social interactions may be fraught with confusion.

A shift in personality – Without their past experiences shaping them, they might react to situations in unfamiliar ways.

Relationships also play a crucial role. Loved ones may struggle to reconnect, while old enemies may take advantage of gaps in memory. This emotional complexity adds depth to an amnesia storyline, making it more than just a convenient plot device.

Medical Insights on Amnesia

To write a realistic portrayal of amnesia, it’s essential to understand its medical and neurological foundations. Memory formation involves various brain structures, particularly the hippocampus, which plays a key role in storing long-term memories.

Causes of Amnesia

Head trauma (e.g., concussions, strokes, aneurysms)

Psychological trauma (dissociation due to extreme stress or PTSD)

Infections affecting the brain (e.g., encephalitis, meningitis)

Substance abuse (alcohol-induced blackouts, drug-related memory loss)

Neurological disorders (e.g., Alzheimer’s, epilepsy, brain tumors)

Memory Recovery & Treatment

While some cases of amnesia are reversible, others can cause permanent memory loss. Treatments often include:

Cognitive therapy to help the brain form new associations.

Medication for cases linked to neurological disorders.

Hypnosis or psychotherapy for trauma-induced memory loss.

Fiction often portrays amnesia as something that can be instantly cured by another head injury or a dramatic emotional revelation, but in reality, recovery is often slow and uncertain.

Writing Realistic Amnesia Symptoms

When crafting an amnesiac character, it’s crucial to depict their symptoms accurately. Some of the most common effects include:

Confusion and disorientation, particularly in familiar settings.

Difficulty recognizing close friends and family members.

Emotional reactions to people or places they don’t consciously remember.

Trouble forming new memories (in cases of anterograde amnesia).

Physical symptoms such as headaches, dizziness, or fatigue.

By integrating these symptoms into your character’s behavior, you create a more immersive and believable narrative.

Unraveling Memories

Memory recovery should feel natural rather than forced. Instead of a sudden, convenient realization, consider gradual memory restoration through:

Sensory triggers (smells, sounds, touch that evoke forgotten memories)

Therapeutic methods (therapy sessions, hypnosis, journaling)

Unreliable memories (false memories, altered recollections)

Emotional breakthroughs (re-experiencing an intense emotion tied to a memory)

It’s also worth deciding whether your character will ever fully regain their memories. Some narratives work better when the character must move forward without ever reclaiming their past self.

Common Pitfalls & How to Avoid Them

While amnesia can be a powerful narrative tool, it’s easy to fall into unrealistic portrayals. Here’s what to avoid:

Instant cures – Memory loss doesn’t resolve itself with a single emotional moment or another head injury.

Overly selective memory gaps – Forgetting only plot-relevant details makes amnesia feel contrived.

Ignoring emotional consequences – Memory loss isn’t just about lost facts; it’s about lost identity and relationships.

Lack of research – A poorly researched amnesia storyline can feel lazy and inauthentic.

By steering clear of these clichés, you can create a well-rounded and compelling narrative.

[akanemnon]

Could i get some help with writing flowey?

I REALLY want to start writing that dude

Since i do have the idea of an AU in mind. It's flowey having Alexithymia/anhedonia.

It's a mental disorder that causes the person to have difficulty feeling or expressing feelings. I found about the mental disorder and really wanted to write flowey with it

He'll go to the surface with frisk

Character development will ensue

And things will heal. His inner child, and the scars.

They won't be completely gone. But he'll at least be better

He'll still be a bit more like flowey, still a bit of a brat, but it's mostly just him being playful/light hearted

Frisk will be a mental support of sorts for him

Ok, I'm rambling a bit.

But i do need help with writing him

Olz i request assistance.

I think the best and most reasonable advice I can give you is that you should be careful when portraying mental illnesses. It is an incredibly delicate subject. Even if you do tons of research on the matter, the chance is very high that your protrayal might be inaccurate. Picture someone who is not familar with it, and your portrayal is their first indroduction to it. Or someone who is very much familar with what you are writing reads it and sees that is not at all what you are trying to portray. It could lead to these very real people being affected negatively by your words.

You can write characters struggling with their life. You can write them having troubles expressing themselves and showing emotion. You don't need to give these struggles a name. Because these struggles don't need to come from a disorder. A disorder doesn't define you. Everyone has a different way of handling these struggles. One person with anxiety might be bad around people, one might be bad in high-stakes situations, but they BOTH have anxiety, right?

When writing a character, write everything that encompasses that character first and foremost. Not their disorder. It's not a checklist that you go through. Because that would be definining a person by their disability. A character is so much more than that. Just let that character be themself.

Imagine a scenario in your head. Any scenario. Try to think about how your character would act and react in said scenario.

For example: Kris and Frisk are baking a pie. Since Kris knows how to bake, they are following the steps their mom taught them. But because Kris is Kris, they're calling tools by the wrong name, tape a stick to a fork to make a whisk, or are playing around with the ingedients. Anything to make Frisk laugh. But since Frisk was taught by Undyne, they take everything Kris says at face value. They are also referring to these tools by the wrong name, because Kris said it and Kris knows what they're doing, so why would they lie? And you kinda go from there. Where it ends up only you know, but if you have the characters be themselves then the whole scenario almost plays out by itself.

It's kinda like playing D&D with yourself! You roleplay these characters in your mind . That's pretty much how I write characters at least. Now, that's probably not how everyone does it, but it at least works for me.

Wish you lots of luck with your AU. And please, I implore you to be careful if you do decide to commit portraying what you asked about!

[lj-lephemstar]

Progress Checkup! (Jan. 2025) | Scratchin' Melodii Devlog

Hey guys! Time for another progress checkup; This is actually the first one of the new year! I hope you were all able to enjoy the holidays. I took a bit of a break from working on most stuff last month and have been getting back on things this month. First, I wanna thank everyone who's wishlisted Scratchin' Melodii on Steam! So far, the game's gotten over 17,000 wishlists! Thanks so much for the support!

In the previous devlog, I mentioned some changes to the rhythm system. In the Dragon Funk preview, you can see the new rhythm system and character icons I mentioned in the previous devlog! Actually, let's unpack some of the new things you're seeing in action there:

Hold Notes This is the first song in the game to include hold-notes! They mostly work the same as they would in any other rhythm game. However, since this game has an emphasis on self expression, moving the control stick during these will let you tune the note's pitch-bend for extra expression points! I showed that off in a post here. As for Pow Notes, I've been working on a way to let the player get expression points from these too! I'd like for most of the special notes like these to be not just a gimmick, but a tool that the player can use to their advantage.

Quadruple Lines Yep! The first blue line in this one is extra long and has 4 rows! Fun fact actually, I had to implement this feature after I realized that part of the song was too long to fit in just two rows. It was pretty difficult to figure out both how to do it and how to execute it in a way that doesn't feel too jarring, but I'm pretty satisfied with the results! In fact, barely anyone's even noticed it; I guess that's just how natural it feels! Not sure how much more often I'll be having lines longer than two rows, but it's great that I have the option now.

AutoPlay You might also notice that the player inputs are perfectly timed... TOO perfect... that's because I've developed an autoplay feature for the game! At the moment, it's mostly for debugging and stuff, but if all goes according to plan, AutoPlay Mode and Replays should hopefully be available to players as well in some form when the game comes out!

"Next" Indicator & Other UI Related QoL Some of the top things players said they had trouble with in the demo were related to being prepared for the next line. So, if you look at the right-end of the rhythm bars, you'll see a little tab that shows the color and amount of rows the next line will have! Also, now each line's suggested notes can be seen before the rival performs them. This did take some thought, as I actually kinda still liked the idea of it appearing as if the characters were making it up on the spot, but to put game design first, it makes more sense to have it displayed as soon as possible so the player has more time to react and prepare. This also opens up more possibilities for future mechanics, so in the long run, I think I've made the best choice here.

Now, let's get into what I've been and/or will be working on that you haven't seen yet!

Act 2's Boss The music for the Act 2 Boss is  nearly complete! I'll likely be starting to animate it pretty soon. This song is the longest one I've done so far, clocking at a duration of a little over 3 minutes long!

More Animation Updates for Stir & Mix At this point, I've done even more cleanups on the sequence you saw in the last devlog and I've finished animating the "I wanna" scene of the song, which will probably have the most changes out of any other scene in the song. When I first animated Stir & Mix, I didn't quite have the time or skills to do everything I really wanted to do with it. That scene in particular I felt was WAY too stiff and boring, especially compared to the more dynamic and fluid scenes that appear in some of the other the stages now. I'd say I'm about halfway done retouching all the animations for this one!

Refined Model Sheets I don't talk about these very often, but sometime around 2023 I started using model/reference sheets for the characters. (I might show them off someday, but for now they're staying private!) Before this point, the designs are pretty inconsistent from shot to shot, so this helped a lot with that. Recently, I've done some revisions I'm really pleased with. Their designs are finally becoming... well, final! I'll be reworking the affected characters' hub world sprites at some point to reflect these changes.

Slight Reworks for some Act 1 Songs On the sound side, Stir & Mix's vocals have been reworked again! As I've mentioned in the previous devlog, 2cada's tuning style and techniques have evolved a bit since we first started working together, so we thought it'd be fun to go back and incorporate some of that into it. We'll also probably be reworking the structure of Nami's song a little bit at some point just to make it a feel a bit more solid, which may require a new line or two from her voice actor, Meggie-Elise! So funnily enough, it seems some of the songs will have end up having TWO unused beta versions after this.

Also, a quick PSA: Please note that beta versions of content will NOT be included in the full game. I've heard people ask for them to be "brought back" or toggleable, but in my situation something like that is both easier said than done and I also just... don't want to LOL. With as many directions I can take this game, I know I can't satisfy everyone, but I can make a game that satisfies me, so I'm aiming for that! And hey, maybe other people will like it too.

I think that's all I wanna talk about for now! Thanks so much for reading. It can be a bit of a daunting task to write these at times, but I'm glad to keep you up to date on the project when I can.

-LJ

[baldursgate3tempobsessed]

so I saw your requests are open. It seems that Astarion believes- at least in the beginning- that his purpose is to give pleasure. He does it to survive, he does it to gain Tavs trust and affection... what if Tav takes it upon herself to pleasure him. I HC Astarion is more dominant as he regains his autonomy, after centuries of having no say or control hiw would he react to Tav gently kissing him, asking him to let her make him feel good for a change. He's spent all this time giving, he deserves to receive for once. Expecting nothing in return.

Yaaas, let's go. I think I may have made this a lil fluffier than what you had in mind but hopefully it works! Playful/Sweet Tav! This is set before he admits his feelings but still in act 2 so he's like close!

TW: They bang and it's graphic under the cut with some mentions of his backstory, which is fucked up. But yeah, sexing is occurring. 18+ That's it. Pretty sweet outside of his backstory.

~

Astarion was aware the sex could be enjoyable, despite the centuries of the act being used against him. There had been glimmers of genuine pleasure through it all, mostly poisoned by the knowledge of what happened to all of his conquests when the job was finished after, but still. They were there.

Enough for Astarion to be somewhat prepared for the loveliness of being with you. When he had made the choice to seduce you, he had done it assuming that sex would be mediocre at best, and unpleasant at worst.

But no. Instead it just felt... wonderful. A word that Astarion was not used to associating with the deed. Though he supposed it made sense. He did like you after all, even outside of the protection he could get out of you. You were intelligent enough to make for good conversation; you were fun, mischievous even. Enough to match up with his own bitchy little quips. But you were also... sweet. Caring even, though it seemed you had a habit of giving that care to the least deserving mortals in the realm.

Not that that was a bad thing. He had been more than ready to use that kind nature against. It was so easy to worm his way into your heart. And the sex was good? Astarion's luck was almost certainly on the edge of running out, but he'd happily take advantage of the streak while he could.

You were just... so submissive. So ready for him to take the lead. Astarion had developed many personas in bed over the centuries, cultivating them for whatever situation he may need. But they were always tools, it had little or nothing to do with what he wanted. Just what he could use to lure them back to their deaths.

In all honesty, he had tried to do the exact same with you, and he would have too if he hadn't lost control on that first night. But then you had to bare your neck to him, the siren song of your blood screaming at him to bite. And then he just... lost control.

Was it the best sex of Astarion's life? Yes. Was he about to tell you that? No.

And it kept being good. Even on the nights he didn't drink from you, he liked it. Borderline loved it, if he was emotionally capable of associating that word with you. And he wanted to enjoy it while he could. He knew deep down that this was temporary, for more reasons than one. Soon enough he simply wouldn't need you anymore. After you defeated the demon for Raphael, Astarion would have some idea of Cazador's plans, and maybe enough to figure out a way to secure his freedom for good. And unless you planned on killing the man yourself, he... wouldn't have any reason to keep the facade going. Not to mention the obvious fact that you could wake up from your lust-induced stupor and break things off at any moment. Astarion wasn't looking forward to either outcome. But how else would this end? It's not like the two of you could set off into the sunset together, like some inane fairytale.

... right?

Astarion wasn't quite sure anymore. And he certainly wasn't going to figure it out any time soon. It was easier just to push the whole thing out of his mind. Especially now, when the two of you finally had a private room at the Last Light Inn, thank the gods. One more night of calm before they rushed into a temple full of horrors.

It was hard to hide his excitement as he pushed you onto the bed, his fangs already sharpening in anticipation. He wanted you to be marked head to toe by the end of the night, bites, bruises, anything and everything to remind you that you were his.

At least for tonight.

"Wait, wait!" You laughed as Astarion crawled over you, wasting no time in trying to claw your clothes off.

But the ask was enough to make him pause, a flash of worry running through his when he asked, "What's wrong? Did I- are you okay?"

You shook your head at him with a smile, your legs suddenly wrapping tightly around his waist "Nothing sweetheart, I'm fine. But..."

The next thing Astarion knew you were always flipping him over, so fast that he couldn't help but be impressed. He always underestimated just how strong you were. You grinned down at him as you sat atop his thighs, your hands rubbing over his chest through the thin fabric of his shirt, "But I think it's my turn to spoil you for a change."

Astarion furrowed his brow, sincerely confused for a moment. And maybe even a little self-conscious, "Why? I mean-do you not like how-"

"You're very good darling," You gently interrupted with a laugh, your hands already working to pull his shirt over his head, laughed as you sat atop his thighs, doing the work to unbutton his shirt, "Best I've ever had, sincerely. But don't you think that things have been a bit one-sided?"

He hadn't, not for a moment, but he sure as hells wasn't going to complain. Not when he had a gorgeous woman on top of him, one who was already doing the work of taking his cock out.

"Let me take care of you for once," You murmured as you started to stroke his length, pre-come already dribbling at the tip, "Anything you want is yours tonight. Just say the word."

Astarion blinked up at you, momentarily at a loss before regaining his usual confidence. Or at least some of it, "Taking your clothes off would be a fantastic start."

You laughed as you did just that, light and airy while you tore your shirt over your head. Astarion didn't waste any time in surging forward, latching his mouth around your nipple with a groan.

He wrapped his arms around your bare back, pulling you closer as you moaned.

"I'm supposed to be pleasing you," You panted as you slipped your skirt down your thighs, tossing it to the side as he suckled on your chest, "Remember?"

"Pleasing you pleases me," Astarion popped off with a chuckle, looking up at you with dark eyes, "Lovely thing that you are."

You softly smiled down at him before pressing a tender kiss to his lips. And then you were squirming away from him. Ducking out of his arms and lap.

He just hadn't expected you to sink to your knees in front of the bed. You rubbed at his thighs, so close to him that he could feel the heat of your breath against his length.

"Can I?" You asked coyly, the question sweet enough to make him shiver. He would never get tired of that, you always asking for permission for the smallest little things.

Astarion sat up with a smile and a nod, tangling his fingers in your hair as he said, "Of course my sweet, go right ahead."

And off you went. You wrapped your lips around the head, suckling on it like the little minx you were. You looked beautiful down there, your hair in disarray as you swallowed around his cock; more than happy to let him take the lead and force your head to take him fully down your throat.

You were drooling around him, staring up at him with your big wet eyes as you worked your tongue around him. It felt wonderful, amazing even. But it wasn't enough. As lovely as your throat was, it was only his second favorite place to store his cock.

"Get up here my love," Astarion ordered, his voice rough and his mind too preoccupied to notice his own slip. He tightened the hand in your hair, easing you off of his cock with a groan, "As wonderful as your mouth is, I want to be inside you."

You grinned up at him before gracefully standing, your breasts on full display, pretty enough to make Astarion's mouth water. You pushed him back first onto the bed before crawling over him again, the heat of your wet cunt so close to his sensitive cock. You gripped the base of it before rubbing the head over your folds, whimpering as you used him to circle your own clit.

It felt amazing, and it looked even better. But Astarion was nearly out of patience. He gripped your hips, his nails just on the edge of piercing your skin as he growled at you, "Are you trying to kill me darling?"

"Just the opposite," You breathily laughed as you finally started to sink down onto his cock, brokenly moaning all the while, "J-Just want to make you feel good."

You were so wet, tight and perfect around him. And the noises you were making, all of your little whimpers and whines. They would be haunting his dreams for years to come. But it still wasn't enough. Despite how lovely it was to have you bouncing in his lap, he couldn't help but thrust up inside of you, matching your movements in tandem.

You gasped as he really started to fuck into you, hard and deep enough to bring tears to your eyes. You were clutching at his chest, hard enough to make him bleed. Not that he cared. How could he when he had you like this? Desperate and needy as you pussy leaked slick onto him, so soaked that Astarion knew that you had to be close.

It had been a long instilled habit of Astarion to be sure his partner always reached their peak first. It was nearly ingrained in his DNA at this point, a pattern that he had no intention of breaking anytime soon.

But then you were leaning in to kiss him, something that shouldn't have caught him off guard, yet it did.

The press of your lips to his felt so soft, so sweet, nothing like the way he was savagely fucking into you. It was gentle, loving even. And before Astarion knew it he was coming, his end abrupt and explosive. It felt like fireworks bursting behind his eyes; he barely even had the wherewithal to move his hand to rub at your clit. But he managed, and soon enough you were crying out above him, your pussy clenching hard around his still leaking cock.

You were still kissing him in that same tender way, softly licking into his mouth as warmth overtook him. He felt... good. Too good even. Enough so where he barely knew what to do with himself.

You pulled away first, but you didn't go far. Thank the gods, Astarion wasn't... he didn't know if he could handle being apart from you at the moment. You rested your forehead against his, smiling down at him with a smitten look, one that made his heart clench.

"Did you like that?" You asked softly, wincing slightly as you pulled off of his cock, "Because I sure did."

I love you.

The thought came sudden and unbidden, screaming into the front of his mind without his consent. He didn't-he wasn't-why had that come into his head at all?

Astarion tried to stomp the wayward thought down as he gave you a strained smile.

"I loved it," He answered sincerely, the truth of his feelings far too close to the truth of his idiotic heart, "I-thank you darling. You really are amazing, aren't you?"

"Such a charmer," You sighed as you laid down next to him, reaching out to tangle your fingers together, "I really never stood a chance against you, did I?"

That was almost enough to make Astarion break out in hysterical laughter.

But instead he squeezed your hand, his eyes turned to the ceiling while a conflicted smile graced his face, "No. You never did."

He could only hope that continued to be true.

[chebyshevptera]

destinyswap is the reason i followed you please do post more of it <333 (please take this as encouragement rather than demands)

AUWGWJRHWJS REALLYYYY???🥺🥺

ok❤️ yay❤️ …

anon i hope u don’t mind me using ur ask to yap abt the basics of the ninja destinyswap . um gonna put their general info under cut :D + show their headshots!! (they r just little colored doodles, but u know<3)

sorry in advance, but this is super long…

first and foremost , nya , the silly, my girl, the only thing ever !! nya is the green ninja and the elemental master of energy . her destiny was discovered shortly after she was rescued from the skulkin . after the ninja collected all of the golden weapons and saved her, they all went in for a group hug, with their tools still in their hands, and the weapons reacted to her presence , solidifying the fact that she was the chosen one .

so nya, alongside her brother, began training with the other ninja under sensei garmadon . nya is still talented and still a perfectionist , and with the weight of the world on her shoulders, she is incredibly stressed and anxious most of the time . although she attempts to put on a calm front , it’s easy to see through her facade . she doesn’t like being bound to this prophecy, but she will still do her best to fulfill it and protect ninjago , whatever it takes

she cut her hair because of sensory issues. her mask didn’t agree with her. also, the element that comes easiest to her is lightning. it comforts her.

-

kai, the blue ninja, is the elemental master of lightning , hotheaded and reactive as he can be . he harbors some envy towards his sister for her status as the green ninja, even though he knows that it isn’t her fault. kai is the first one to master spinjitzu , and to unlock his golden weapon’s vehicle . he’s a very fast learner and an incredibly powerful opponent .

even without his envy , kai still dislikes the fact that nya is the green ninja . he has tried very hard to protect her, only for destiny to decide that she must be at the front when the time to face evil arises . he trains exceptionally hard with his element to be at her side and protect her when that time comes .

he is, technically, the second oldest on the team .

-

lloyd is the master of fire , taking after his mother , misako, the previous elemental master of fire . he has trained all his life under his father’s guidance . his elemental knowledge and history with training , combined with his oni and dragon heritage (which he was able to embrace) , make him the strongest on the team without question, despite being the youngest.

he is well educated and very clever , and sometimes speaks like an old person . lloyd still mischievous and silly , but has no reason to be resentful as a child . rather , he is stressed out at the thought of having to fight his uncle , who he cares so deeply about .

-

morro is the elemental master of ice. he was taken in by garmadon and misako years before the ninja team was properly formed, and has since developed a sort of brotherly bond with lloyd. also , as the oldest member of the team , he feels quite responsible for the others .

he is the leader, the most rational , and calmest under pressure , but he has quite an attitude . he can be snarky and sarcastic , though rarely with malice . he is technically the second most capable on the team, having trained longer than the others , though not longer than lloyd .

he is much more skilled in melee combat , preferring it over long ranged attacks, so he utilizes this with his shurikens of ice. eventually, he will perfect the skill of creating gauntlets with his element.

-

zane is the black ninja and the elemental master of earth, having been granted this element by the previous master of earth before his passing . like his element , he is strong , solid, and reliable , and he tries to keep everyone, even morro, grounded.

already knowing the truth of past before he joins the ninja , he frequently doubts his humanity and opts to keep his android heritage a secret from his teammates , for now .

he’s still a chef , and he’s still their resident walking encyclopedia … thankfully, because the others can be pretty dumb.

-

prior to joining the ninja, jay is a celebrity , no longer simply known as the son of cliff gordon , but as his own successful individual. he acts, he sings, and he dances, all with charm and enthusiasm that made him rise to fame . he hides a lot of himself from the camera , covering up his freckles and the circles under his eyes, and wearing contacts to make his eyes less unique . jay hates fame. he wants to be an artist , free from the spotlight, with the ability to be himself.

upon joining, jay is the primary engineer for the ninja. he lacks elemental abilities , but he is almost scarily intelligent and creative, and the ninja heavily rely on his abilities, which is something that makes jay quite happy , even if his repressed and snippy personality refuse to let him admit it. as he continues to spend time with the ninja, he allows himself to open up more, and resulting in his behavior being much kinder.

his mother was the previous master of water.

-

(and here’s the last silly for you guys. nothing to say about him for now ❤️)

[elysiansparadise]

Dear Elysian, since your blog is so insightful, I hope you can help me out: What is the best way to deal with moon square moon synastry? I know so many Scorpio moons (I'm a Cancer rising with Scorpio 5th house) but my natal Leo moon almost always squares their moon. Maybe there are some Synastry aspects that can smoothen this energy? I would love to hear your thoughts about this. On the other hand, I‘m really excited for your upcoming posts! Keep up the great work and good luck! 🍀

Sure, I would love to help you dear! 🥰💗

How to deal with Moon-Moon square in synastry?

First we have to understand what this square usually indicates. When Moon squares Moon in the synastry there may be different emotional needs, lifestyles, ways of feeling and/or expressing feelings, dynamics with the family or different opinions regarding the formation of the home.

As for practical approaches, I can mention the following:

🤍Good communication always helps. Openly express what things make you feel comfortable and what don't. Establish boundaries and make sure you listen to and accept each other's boundaries. Let each other know how you like to be loved to avoid misunderstandings. Talk to each other about how you deal with your emotions, do you like to have your space when you are upset or sad? Do you prefer physical comfort? Do they just want to be heard? Talk about it.

🤍Empathy is the foundation of a relationship and a perfect way to deal with Moon squares. Trying to see things from the other's perspective and developing empathy can help to ease tensions. It’s important to remember that both have valid ways of feeling and reacting, even if they are different.

🤍Find a middle point. Do not wait for the other to change into what the other wants, instead of insisting that the other adapt completely to your own needs, find a middle ground where both feel seen and heard without needing to feel that you cannot be yourselves with each other.

Now, as far as aspects of astrology are concerned, I have a couple in mind:

🩶Conjunctions, trines or sextiles between Sun-Moon can help a lot, because despite the initial square, these aspects help both of you to have greater empathy with the other and feel that despite your differences, you can be yourself and feel appreciated, loved and supported. The Sun is our identity, so when the Moon aspects positively, there is genuine affection where sympathy, care and appreciation for the other awakens.

🩶Mercury-Moon positive aspects can be an excellent tool, as they will be able to talk more easily about insecurities, emotions and what they need from the relationship. The fluid aspects between these two planets help the other feel heard, favoring that disposition of truly wanting to understand the other and validate what they feel.

🩶When the Moon aspects Jupiter positively, it causes both of them to grow together and learn a lot from each other. These aspects greatly favor a peaceful coexistence in which both look up to the other and are amazed by the other. The theme of teamwork, mutual support, affection and attention to others are of great help to counteract the initial square.

🩶The trine or sextile between Moon-Saturn makes both of them focus on creating the foundation for a lasting relationship. The Moon person shows empathy, understanding and a lot of validation, while the Saturn person is open to knowing how to best meet the other person's needs, be reliable, as well as patient and delicate. Both will support each other and seek to meet the other's needs in their own way.

🩶The positive aspects between Venus-Saturn give a lot of commitment between the natives, they will want to do things well with the other and provide love and understanding to the other. 

🩶Mercury positively aspecting Pluto or Saturn can also be of great help, as both may feel that they can talk about the more serious aspects of the relationship. It greatly favors long-term planning and makes both feel that they can be very honest and clear with the other. They will not be the type of couple that is afraid to address some topics; on the contrary, they may find it very easy to do so due to the foundations of trust and reliability of the relationship.

🩶Planets falling in the 1st house can help you find similarities between the two and can help you feel more empathy between them. Understanding, similar experiences and in general similarities on issues related to the planet that falls into the house. Sun for example makes them have similar personalities and makes them feel admiration and happiness with respect to each other. Mercury can make you both have similar opinions and ways of communicating. With Venus, your perception of love or similar love languages and so on.

🩶Planets falling in the 4th house can create this feeling of comfort with each other. No matter the differences or experiences they have experienced, both can feel understood, protected and cared for by the other. Moon falling here, for example, can talk to us about that feeling of being able to better express your feelings without fear of being judged. Jupiter falling here tells us about this immediate boost of serotonin, the presence of the other makes you feel happier and understood.

🩶Planets falling in the 5th house also help a lot, as both make each other feel happy, loved and very motivated by the other. They feel that they can be lighthearted with each other, that there are no pressures, expectations or stress, being with each other is fun, easy and leaves them with a feeling of warmth in their chest. Moon falling here makes you more easily expressive of each other, romance, authenticity and compatibility.

🩶Planets falling in the 7th house greatly favor compatibility, good coexistence [especially if you plan to be with this person over the long run], and a willingness to understand their differences. Sun, Moon or Rising falling here are a great indicator of compatibility between both of you and the house person can even develop this ease of reading the other like an open book.

[floristjimin]

charles and edwin's enneagram types

ok so I’ve been seeing a lot of really good analysis on charles and edwin’s internal motivations and how they tend to react to difficult situations. I’ve also had a deep interest in the enneagram for several years, and I just started reading a book about it, and my brain immediately connected it to DBD. so here are my thoughts on what charles and edwin’s enneagram types might be, how this influences many different aspects of their personalities, how their types complement each other really well, and how they’ve supported each other to be the best versions of their true selves.

What is the Enneagram?

More than just a personality type, the nine types of the Enneagram describe the “basic archetypes of humanity’s tragic flaws, primary fears, and unconscious needs.” Most Enneagram authors agree that we are born with a dominant type, and that this type “determines the ways we learn to adapt to our early childhood environment.”

The types are not static — there are different “levels of development” that describe how each type behaves when they are psychologically healthy or unhealthy. There is also something called the direction of integration/disintegration — each type behaves like another type when they are under stress or in growth (e.g. type Nines behave like Sixes when they are stressed, and Threes when they are in growth). So two people with the same type may not behave the same way as each other, and a person throughout their own life may grow and change, but they will still align with that dominant type.

All this to say, the Enneagram is a really useful tool for self-understanding and for having empathy for yourself and others, because it gives a lot of insight into a person’s core fears and underlying motivations.

charles - type nine

A big part of Charles’s character arc in season one was the repression and denial of his own anger. This was the biggest clue for me that he might be a type Nine.

There are so many examples of this, especially in episode 4:

the scene with Charles and Crystal on the lighthouse where they talk about the events of the devlin house (Crystal: Charles, could we just for one second talk about what happened? Charles: Crystal, I don’t have anything else to say. yes, that guy was horrible. yes, my dad was horrible. yes, I got angry. now I’m fine. Crystal: you don’t have to keep things bottled up)

the scene (1) when Charles is upset that Edwin hid the fact that he saw the cat king again, Edwin directly asks “why are you getting so angry?” and Charles immediately falls quiet

the scene where Charles attacks night nurse — he can no longer hold back his anger, and his friends are shocked (2). It is unusual for him to express his anger like this.

Ok, so why do Nines tend to be out of touch with their anger? Type Nines are “the peacemaker”, described as easygoing, reassuring, and agreeable. The basic fear of the type Nine is of loss and separation (3), and their basic desire is to have inner stability, peace of mind. “They want everything to go smoothly and be without conflict, but they can also tend to be complacent, simplifying problems and minimizing anything upsetting.” Nines want to avoid conflict; they have seen from past experiences that anger can be a huge source of conflict, so they learn to repress their anger.

This could also be part of the reason why Charles decides to stay (4) with Edwin when they first meet. Going with Death would mean having to fully accept the fact that he is dead, and that’s upsetting to him. Nines are also known as “chameleons” and tend to mirror/blend with those they are around (a way of avoiding conflict) — “being a separate self, an individual who must assert themselves against others, is terrifying to Nines. They would rather melt into someone else or quietly follow their idyllic daydreams.” So it makes sense that staying with Edwin feels like the safest option to Charles.

Some other scenes that make more sense through the lens of Charles being a type Nine:

Any time Edwin tries to initiate a serious conversation, Charles’s immediate reaction is to downplay things, and give a lighthearted response in an attempt to minimize tension (ep 6 (5), ep 7 (6)). There’s also that flicker of emotion on his face before he promptly represses it and tries to present a more reassuring reaction (ep 6 (7))

“Every (8) day, I’m fuckin’ smiling. ‘Cause who else is gonna be the one holding it together and keeping spirits up? … What good am I even doing? I couldn’t stop Devlin from murdering his family over and over, I can’t stop Crystal from hurting, I can’t stop whatever it is that’s going on with you, I can’t stop anything! I sure as hell couldn’t stop my dad from beating the shit out of me. No matter how good I was.” — This directly points to his desire to create harmony in his environment (and taking on way too much personal responsibility (9) for it)

The scene in ep 5 where Charles admits he is afraid (10) that he’s like his dad, and Edwin’s response (11) — this is a really important moment where Charles finally allows himself to acknowledge his feelings, and Edwin learns to respond with patience and mirrors the reassurance that Charles himself so freely gives.

edwin - type one

One of the things we learn about Edwin in the very first episode of season one is that he deeply cares about solving cases and helping others.

“Our (12) deaths didn’t matter. No one ever solved them. Now you are sharp and fun, but this is not a game. We are solving cases that would never be solved. Police don’t know what to do with a fucking witch! We didn’t matter. He and I. So these cases matter. They have to matter!”

Type One is “The Reformer”; they are described as principled, purposeful, and self-controlled. The basic fear of the type One is that they are corrupt, evil, and defective (which makes it even more devastating that he spent 70 years in hell), and their basic desire is to be good, have integrity, and be balanced.

This description above reminds me a LOT of the conversation he has with the cat king in episode 4:

Cat King: Why do these cases of complete strangers matter to you so much? Edwin: Not that you would understand, but I help ghosts whose cases would go unsolved. I right wrongs. [after Cat King forces him to tell the “truth”] Edwin: I’m also doing as much good as I can, so that eventually if I have to go back to hell, I can make my case for leniency … I’m ashamed. It’s selfish.”

A lot of Edwin’s repression definitely has to do with the time period he’s from, but I think it also points to that type One desire to be “good”.

Does this not perfectly describe Edwin’s entire journey (13) of self-discovery in season one? See also, his remarks about emotions (14) and human connection (15).

Lastly, I’ll link to this post (16), as well as the fact that it took me a lot of thinking to figure out that Edwin was a One — he does not fit the usual stereotype of a One. He’s not overly perfectionistic or highly critical, he’s not afraid of making mistakes. Instead, we see a One at a healthy level — principled, a person of integrity, who is able to see that imperfections are part of perfection, who is able to work on undoing those patterns of repression. Additionally, type Ones tend to look like Sevens when they are in a direction of growth — Sevens are described as spontaneous and playful, constantly seeking new and exciting experiences. We definitely start to see this side of Edwin, and I think part of why he is able to grow in this direction is because his friendship with Charles has given him an environment where he feels safe and comfortable.

charles & edwin - the relationship between Ones and Nines

Even more interesting, there is a section on the Enneagram site that discusses relationship dynamics between different Enneagram types. This part highlights how the One and the Nine have different ways of reacting to stress and how they express (or don't express) anger:

For Edwin, this perfectly captures his prickliness and snippiness in the first few episodes towards Crystal.

And for Charles, this lines up with his emotions (17)/reactions starting from episode 3 in the devlin house and how he tries to ignore his emotions and repress his anger

Lastly, on a more positive note, this part really describes their partnership and synergy perfectly:

I also think this ties in to Charles’s direction of growth — as a type Nine, Charles would look like a type Three in his direction of growth. Threes are described as adaptable, driven, and energetic (as well as attractive and charming). I think he exhibits all of these traits -- being friends with Edwin for the past 30 years has definitely supported Charles in this direction of growth.

Overall, I think all of this really speaks to how realistic and complex these characters are. If you read this whole thing, THANK YOU. I would LOVE to hear your thoughts on this, if you agree with these types, if you have any more examples you can think of in the show, if you think they fit better with a different type, etc.!! And if you’re interested in learning more about the Enneagram I’ll leave some sources below.

The Enneagram Institute website

The Sacred Enneagram by Christopher L. Heuertz

Sleeping at Last podcast feat. Chris Heuertz, about type One and Nine

One by Sleeping at Last

Nine by Sleeping at Last

references: 1 - @that-ineffable-devil 2, 5, 6, 7, 8, 9, 10, 11, 12, 14, 15 - @mellxncollie 3, 7 - @homoquartz 4, 13 - @nikossasaki 9 - @asidian 16 - @abeautifulblog 17 - @melefim

[trekmupf]

Shakespeare & Eugenics in Space

Pro

Kirk backstory, and Kirks way of dealing with his trauma (immediate denial in front of others and putting up a wall, then researching and dealing in private – and later on with Spock and McCoy). Opposed to how both Riley and Leighton react

Kirk seducing a woman not for pleasure but for a secret cause / using his charm and sexuality to manipulate someone.

Unlike in the other cases of this happening he's the one being played by Lenore who is pretending to fall for him to murder him, which is a twist great

Spock immediately noticing something is up with Kirk

Spock then going to McCoy for help and support, twice! Great further development of all sides of the trio in this episode

McCoy's beautiful eyeliner is giving me happy chemicals

So many Spock and McCoy interactions

“And Please, Mr. Spock, if you won't join me, don't disapprove of me”is a line straight from fanficition

Spock correctly predicting how Riley will feel about being demoted for no reason - trying to look out for the crew and always questioning Kirk

Uhura playing for Riley who is lonely → further crew dynamics

The entire confrontation scene between Kirk, Spock and McCoy is great – it starts on a professional basis, Kirk being angry and defensive, and even though McCoy doesn't share Spock's suspicions to that degree he backs him up. Spock then turning the conversation on a personal level – it's not just about ships business, it's about Kirk possibly dying. Kirk then relenting and talking with his two friends about his feelings and the situation. Spock being Kirk's logic and information and McCoy ethics and morals

Great character work for Kirk who is aware of his responsibility, the small line separating vengeance and justice and his own morals

Kirk trying to wait to confirm his suspicions but then throwing caution to the wind and approaching Kodos when he realizes it's not just his life on the line after the murder attempt that would've cost many lives

Lenore rightly calling out Kirk at the end for using people as tools

The Kirk / Kodos confrontation is one of the best character scenes in TOS. The acting is perfect, the dialogue and emotion heavy and direct. The conflicting emotions of a mass murderer and Kirk having to deal with the emotions of confronting the man who directly traumatized him.

Kirk being able to talk down Riley with words instead of force

Kodos realizing what is daughter did making his character even better

set and costume design , fitting music

the whole play within the show thing with its stage & acting

the way the audience gets Kirk's backstory over the course of the episode along with Spock and can gather further understanding of Kirks reactions

the plot mirroring a classic Shakespeare play itself

differs from the other episodes in a nice way- very human and story driven; also murder mystery vibes and film techniques

the tension still holds up despite no real action scenes – first though the mystery of how this man is connected to Kirks past, then the ongoing mystery as well as the threat to Kirks life

Con

McCoy being careless about Riley overhearing him

Although I did like her acting, I think they should've commited to making her insane persona come out gradually / less extreme before the death of her father or play it straight and have her go insane after the death; this felt a bit rushed / sudden

Counter: Kirk fake womanizer

Quote

"Captain Kirk, who are you to say no harm was done?" - Lenore "Who do i have to be?" - Kirk

"What if you decide that he is Kodos? What then? Do you play God, carry his head through the corridors in triumph? That won't bring back the dead, Jim" - McCoy "No. But they may rest easier" - Kirk

Moment: Confrontation Kirk and Kodos - tense, well written and played

Summary: Underrated episode that even though it lacks classical sci-fi elements and action scenes introduces important backstory information for Kirk and gives further insight into his character and morals as well as his relationships with Spock and McCoy while also giving further development between those two. The acting is brilliant, especially Shatner and Arnold Moss, and the tension of the story holds up from the beginning until the end. Previous Episode - Next Episode - All TOS Reviews