#but because it's a fantasy setting certain things aren't the same as they are irl

[creation-help]

Advice and tips on how to make your character feel more genuine/real

- Pettiness and shallowness. Obviously it can manifest in different ways, but IRL everyone has at least one or two little things that they're a bit surface level and "Just because!" about. Be it clothes, how they do certain rituals, what color m&ms they prefer ect ect. It can be little details or even major characteristics, and depending on which (and what) they are, it can be really telling about the character! Plus, it just adds a little extra depth and fun. Some examples including but not limited to: Being fussy over getting their clothes wet or dirty, only preferring some items because they look good, insisting on doing some action or tradition exactly a certain way, disliking an aspect of a thing or a person because they just don't like it, and so on. Obviously the big worldview points like morality and beliefs are very important, but when you've figured those out, take a moment to think about the smaller, everyday things your character feels about the world around them. No matter how good or wise a person is, they'll still always have some little thing that they can't give some profound noble answer to. Use this to your advantage to explore your character's shortcomings or flaws!

(In the same vein, Pet peeves is another detail that can flesh out a character!)

- How does your character perceive things? What do they notice about people first? How would they talk about, or describe another person to someone, if asked? How would they describe themself? And why? Just some things to consider. If your character maps out all the little details and deeply analyzes everything they see, it'll show in their interactions very differently than, for example, if they have the perception of a cabbage and are more oblivious than the love interest in a teen drama that the writers are stretching out for five seasons for no reason. Ykno.

- Additionally: what's their opinion of the people around them? Or if you've already mapped that out, what's their opinion of people they've never met before, or people who aren't in their immediate bubble, friends of friends, relatives of relatives, neighbours, or celebrities, mythical/historical figures and so on. Delve into hypotheticals sometimes, it can help you exercise your knowledge of the character. Even if none of these encounters or situations would happen in Canon.

- I'm sure you've already figured out what your character is most passionate about, ykno, whatever drives the story and impacts their relationships with other characters. But how about stuff they really don't care to think about? Just shrug? Not interesting? Doesn't pay attention to this? What is low on their priorities? It doesn't have to be negative (but can be!), it can just be "Meh", or something your character hasn't even noticed before, simply because it's not in their thoughtscape to think about.

- Does your character have any of those "What? I thought everyone did that/thought that/was like that!" - things? What do they take for granted, or weren't aware isn't a universal experience? Did they have a wildly different experience with something that most other characters hadn't even thought of? And yes I understand this is good for exploring trauma and other angsty things, but besides the obvious, think about maybe something that could be related to your character's species/living environment/abilities/opinions ect. This is great for exploring cultural differences, and anything that takes place in a fantasy setting. Very useful for villains and heroes alike! It's insightful. Everyone has small little perceptive differences or big and small thoughts that for some reason just haven't been properly challenged yet. Or brought up even. For whatever reason. Explore maybe what that reason could be, and figure out why it's been unchallenged for so long.

- Imperfections. Little divergences. It's fully possible to write a compelling and genuine feeling character using just archetypes, if you really explore them deeply. And whether you're doing that or not, think about the lines and molds you've set your character into, and let them spill out of them a little bit. Can be one huge aspect or one teensy detail, but make some diversion. Some crack in the picture. Doesn't have to be a flaw but can be! Just have some little aspects that set them apart and make the character themself. Get weird with it. Getting weird is one huge way you can truly make a character stand out and feel more unique and, oddly enough, genuine and real. Actual people have little oddities or things that don't line up with everything else about their person. And again it doesn't necessarily have to be anything big or shocking, in fact I'd argue it's even better if sometimes it's just a small, very ordinary, humanizing detail. Maybe unexpected, or maybe just something that doesn't factor into the surface image your character has. Think about characters similar to yours that you see often. What traits do they all share, or most usually have? Think about the kinds of people your character is inspired by. What are they often like? Make a diversion from that. Make multiple even? It can be the most random thing but think about it, even if you threw a dart at a wall of sticky notes, really chew out what this little thing says about your character. And focus on little cracks, imperfections, diversions and other odd details of your character. Over time they can grow bigger, or maybe not.

- Keep a clear picture of who your character is. Sounds obvious but I'll elaborate. Your character will obviously change and develop over the time you're working on them and whatever story events take place but I think it's very important to keep in mind who they fundamentally are. Basically I'm saying that try to keep them in character, yes even if you did drastic character development, you can still show that it's the same person in other ways even if one of their core traits was flipped. Be aware of what things will never change about your character no matter what they'd go through. Keep some consistency. Consistency matters alot in making a character seem genuine and, ykno, a good character. Even if that consistent trait is that they're inconsistent! The character can be that, yes, but as their creator, you should still keep sights of what's consistent for this character, you feel? If your character is a glunk of slime that slips out of it's container constantly and subsequently molds into whatever situation it gets put in, that's not really a character, that's.. Idk, plot device..? I know this may sound contradicting to my previous point but I fully think that, and this one can and should coexist.

You need to simultaneously be aware of the ways your character will differ from something and be fluid, and the ways your character will not bend, and cannot become. It's simply a matter of knowing their boundaries and restrictions, knowing which way they can lean and which way not. Obviously this'll be up to you as their creator, bc yeah you're allowed to drastically edit your character if you feel like it's for the better, but try to commit to that change then. Don't let the character slip from your hands, or let the story bend them into whatever shape it needs to make the plot go forward. Your character, and more importantly you, should be in control of that.

I emphasize the point of you controlling your character and not the other way around also. I've seen some character owners slip into "Well it's just what the character would do! I can't help it, it'd be out of character if they didn't do x!" even if the thing is completely awful, doesn't fit, or would ruin an aspect of the story. A smart writer will know how to work with your character's traits in a way that prevents them from running off the tracks and becoming their own little gremlin, while also complying with the story. Respect your character's.. Character, while also respecting yourself and the point of the story. This is even more crucial if it's a roleplay character, by the way..

I'm just saying, find ways to write the story in cooperation with your character. That means knowing what situations to avoid and which ones to steer for, in order to keep your character functioning with the plot and other characters. Sometimes you simply have to prevent some event from happening, or some characters from ever meeting, for the sole reason that it wouldn't make the story work the way it should. Or the way you want it to. You hold the pencil, be aware of what that means

[disquiet-doll]

i think i've posted about it before, but i am thinking a bit about fantasy race stuff again

namely, how it's uh. not really possible to avoid certain implications and you kinda gotta be aware of that

and then past that, how interestingly dungeon meshi does it, because like... they aren't "races", in the normal fantasy sense of "like races irl except race realism is true". they're different hominid (mostly) species.

and like, yeah that's not free of it's own weird implications either, but it puts it in an area that's more like, sci-fi with sentient aliens (which is to say, also easy to accidentally just make race science implicitly real but imo less inherently fraught than fantasy), and one thing about how it's treated really puts it in the good zone for me:

There is not, in the region the main characters are from, actually a race called "humans". Instead, all of the standard "good" fantasy races are considered "human", and what we'd identify as bog-standard humans are "tallmen" (since they're the 2nd tallest on average after ogres, which like, i don't know if this is canon but I suspect they were a later addition to this whole system).

This is also basically explicitly arbitrary, and not only that but created directly to justify existing forms of oppression (as with how race is constructed in real life, whiteness exists to justify exploiting those excluded from it etc. etc.). We don't like orcs and kobolds so they don't get to be human. How do we justify it? Uhhhh all the human races have the same number of toes, yeah that makes sense.

(Something something yeah the shape of your skull totally determines your character as a person, can't be helped)

And when we see characters from elsewhere (the not-Japan in the setting) we're told: Oh no they don't do that at all, they just divide everyone into Human ("Tallmen") and Non-human (everyone else). Which you know, isn't better but it does highlight that yeah, it being entirely arbitrary is very much intentional.

And like, I can very easily see that being how things would've gone if other hominids had survived past pre-history IRL! Certainly they wouldn't go for "we're just intrinsically different" because... I mean, if you've lived in a world where Elves and Dwarves and shit have always been around, that's not *really* gonna be different from being some medieval English peasant who's aware French and German people exist.

(They *are* different species - there's stuff like how half-elves are closer to like, a liger than an irl mixed race person - but that's only clear, y'know, coming from an irl perspective)

Anyway point of this all is: I like it. I think it's good. Not perfect because the whole concept of fantasy races has weird DNA all the way down, but there was at the very least very clearly real thought about the concept (and how race as a concept is constructed IRL).

[tomwambsgans]

not to get too discourse-y, but - ok so i don't literally buy into the idea that tom sees greg as like a little cherub wide eyed anime girl, but i do think that (to a certain extent at least) tom does have a fantasy version of greg to the extent that i think he kinda chooses to see greg as an extension of himself?

like, i think that when it comes to tom's theory of greg's mind, there's this big blank region that he either doesn't know how to map and/or refuses to look at too closely and that region is 'what does greg think about tom?' and i think he doesn't want to look too closely at that area because no matter what's in there he's not going to like it. in tom's mind, either greg doesn't like him at all (devastating, he can never fully admit this as a possibility) or greg DOES like him, at least some of the time, but this possibility presents its own unique kind of terror because recognition of mutual affection sets off some kind of emotional alarm bell and also makes the contradictions inherent to the structure of their relationship much harder to ignore. if greg likes tom, then tom has to be worthy of being liked by greg, and i don't think that he thinks that he is. (in some ways i think the idea of genuinely being liked by greg actually feels more unsafe to tom than the idea of just being passively tolerated or disliked by him, tom's in a bit of a lose-lose situation)

and so since both of these possibilities are bad, i think tom kinda just chooses to keep that area of the map as blank as possible and to believe that he can kinda just fill it in with whatever he wants? like, of course greg knows when he's joking and being serious. of course he can just brush off being teased. because tom gets to decide how greg feels about him and how he reacts to him, and for as long as he can get away with it the responses that tom is going to believe that greg ought to have are the ones that are going to be easiest and most convenient for him. imo, tom's fantasy of version of greg isn't necessarily a greg who's softer and sweeter but a greg who's never going to directly force him to confront his own feelings (which might correlate with him being softer and sweeter in certain situations, but i don't think that's the core of the fantasy)

HOWEVER, i think the core story of their relationship arc is the story of this myth slowly falling apart. this situation tom's put himself in has never been stable and the cracks have been showing almost since day 1, but i think s3 especially really brought them to this very interesting turning point where - by having greg ditch tom for kendall and for comfrey and with the prison deal - tom has to finally update his theory of greg's mind to accommodate the fact that greg is in fact capable of articulating an independent existence, and if he wants to keep him around he might actually have to learn how to explore those scary unmapped territories

sorry i wrote a whole essay here i hope it's not completely incoherent lol

honestly yeah i'm just gonna say that i basically totally agree with you here. the nuance is pretty fucking solid and like personally i've written tom to be often unable to be aware of greg (or anyone else that he really likes for that matter) being an independent person who is justified in having desires/needs that aren't related to himself (which i would say are due to having never really had desire for another person so strong and it's naturally just NOT gonna come with selflessness. bc like when have you ever seen a toddler who's just grapsed the concept of possessing things be gracious about sharing), and i highkey kin tom and do the same thing irl and i do think that a lot of late s2 and s3 tom actions towards greg are regarding that realization and desire to rectify his past crimes toward greg so to speak

[magnoliamyrrh]

i guess. one of my genuine questions is (also bc i dont read or watch supppprr many things) can someone pls give some examples of western fantasy/sci-fi/nonrealism etc series which,,, are Both culturally diverse but aren't to be labled problamatic in one form or another?

like pls, i rly am curious. because generally novels and such while they tell a story in another universe or time, they are a critique and allegory for current things happening irl or that have happened irl. theyre inherently grounded in whats happening here

and yes, there is nonfiction/fantast/scifi/etc which is written from outside of the west or filmed from outside of the west and i think thats rly cool and i think those sort of media should be more widespread and commonly known and gain more attention and in the context of films and series and such given more of an opportunity to be adapted. this is the age old discussion around representation - its better to just get more diverse ppl in general to write things than have the same ppl write abt them more. fully agree

but im asking specifically largely in the context of western literature and media and such. when its fantasy, or scifi, or some combination of something, it is most often grounded in a)broadly focusing on things happening irl b)historical contexts (on the topic of dune, its set where and how it is bc the story is an allegory for and critisue of american and russian imperialism in a series of islamic countries). for a lot of them bc theyre made in the west, the most heavy infleunce is a western one - weather current western society or like western medieval histories. this shows in lore building, in costume design, in characters, in sets and designs and the world and a million other things

.but at the same time, people want representation. people want to see character and places which arent just that, right? people want to see a diversity of cultures and people?

... but then, many times whenever a place/culture/people are introduced which are clearly based on/infleunced by certain regions of the world or ppls (as the others are themselves clearly based on some western societies), people say this is inherently cultural appropriation. of designs, of language, of beliefs of this and that. even in the cases where i haven't seen ppl say its stereotyped or its harmful or orientalist or etc, its still cultural appropriation bc its showing things clearly infleunced by nonwestern cultures..... ... but then. im sorry this is what trips me up. if this is Inherently cultural appropriation and Inherently bad,,,, than,,, how do you have represention? how do you have a fantasy world which then isnt an entire globe or globes of western european cultures essentislly? because saying "well just invent wholly new things for everyone!!!" doesnt rly work. everything we create like that is inherently bound by a series of things no matter how hard we try to be "original" - and especially if youre trying to make it more grounded in reality that just.. doesnt work. these things inherently are using whichever western language as the set language, and a series of cultural and historical things to draw from...... so........ is it better to just,,, have a diverse cast but with no unique or other cultural infleunces at all, and just shove them all in a clearly western-based fantasy? but then ppl dont like that either... and if english and such and western infleunces can exist, why is it that it must inherently be bad or problamatic or stealing to adapt other cultures, places, regions, languages into that? to try to show and adapt at least to an extent the actual diversity of the world..?

and im really really not saying that there do not exist genuinely offensive and harmful and stereotyped and orientalist and noble savage and villainous and everything else ways that this has been done in. thats not what im saying at all, bc there have been and are and its an issue... im speaking and asking,,, more broadly. bc ive seen this be said plenty more broadly abt the adaptation of cultures in any way rly

[fozmeadows]

do you think it's possible for an adult to have a crush on a teenage fictional character and enjoy reading smut about them without being a predator? i can't stop freaking out that there must be something wrong with me. i don't want to hurt anyone irl so why do i still like fictional teens sometimes?

Because fictional teens speak to the part of you that used to be a teenager, too - and that's normal! We all carry our younger selves within us like a set of emotional nesting dolls, and part of our inherent understanding of the difference between fiction and reality is that we know it's safe to explore things in the former precisely because of how it's distinct from the latter.

Enjoying something in fiction, in the privacy of your thoughts and, yes, even your personal sexual fantasies, is no indication that you want it in any other context - in fact, we often fantasise about things which, IRL, we aggressively don't want. Here's a really benign, vanilla example: barebacking. In real life, barebacking is at best messy (and potentially very uncomfortable, if you're having anal sex) and at worst actively dangerous, carrying the risk of unwanted pregnancies and STDs. But it's also an immensely common sexual fantasy. When people fantasise about barebacking, casting it as sexy and safe and intimate for the length of time it takes them to get off isn't the result of ignorance or some terrible need to downplay a serious issue. Rather, we're choosing to enjoy the idea of a thing disconnected from the reality precisely because we're aware that the fantasy is a separate thing entirely.

The same applies to darker content, too. When we read murder mysteries, it's not because we're secretly yearning to be (for instance) an embittered, alcoholic detective who keeps being emotionally devastated by proximity to horrific killings; scary stories are thrilling precisely because they let us experience our fears vicariously, at a safe remove. And this is equally true of our sexual desires, which are multifaceted and complex. Just as no two people will have the same reaction to a story, no two people will have quite the same reasons for indulging a particular sexual fantasy, and while it can be helpful to understand why we find a particular thing appealing (or not), when something takes place only on the page or in your head - when fantasy is the limit of our enjoyment of the thing - it hurts nobody. Think of it like a Venn diagram: there are things you want in reality, and things you like in fantasies, and only a certain number of them overlap. That's human nature; you're not remotely a freak.

Being a teenager is hard. No matter how good your school, how loving your family and how positive your relationships, it's a hugely impactful time in our lives. Of course we return to it in our thoughts once we're older! Of course we revisit stories about teenagers! Of course we find them meaningful! But engaging in fantasies about those characters no more makes you a predator than writing about serial killers makes someone a murderer, because fictional characters aren't real, and knowing that allows us to interact with them and their narratives in ways we'd never want to otherwise.

[madd-information]

Is it possible for a person to have maladaptive daydreams about fictional characters that aren't their own? I've been trying to determine if I do maladaptive daydream (idk abt the phrasing) or if i just prioritize daydreaming. I fit all of the criteria except i dont really daydream about my own characters, I take characters from TV or movies that I've fixated on and create elaborate fantasies around them and their aready existing worlds. Could I still be maladaptive daydreaming?

Anonymous said:Can paracosms be composed of fictional characters and worlds? Is that a MaDD thing or am I just normally daydreaming too much?

Anonymous said:So, I’ve been reading about “paras” and I didn’t know about it before a searched for madd on Tumblr. Is it still madd if you don’t have paras, like, I daydream a lot but I’ve always use fictional characters, like from movies or anime, or even real people like from bands or actors I like, and I get hyperfixated on specific characters like for years, but I always choose one that represents me… But I’ve never created a “para” so to speak…

Anonymous said:Is it real madd if i constantly have a new paracosm and paras? I’ve been daydreaming an excessive amount since I was very young, but I notice a lot of people on here manage to have paras and paracosms for years and it makes me wonder if I really have madd or not.

Anonymous said:Hi, I’ve recently learned what maladaptive daydreaming is and I think I have it but I’m not sure if it counts? basically all the daydreams are just of having conversations, not the narrative kind of think i see people talking about. is that still maladaptive daydreaming?

Anonymous said:Is it common for paras to just be… Alternative versions of people you know in real life? All but one of mine are just my friends and partner, only as supportive and understanding towards me as they are to others (because daydream me is a significantly better person). That’s not to say the setting’s the same, often we’re in Ancient Rome or whatever, but it’s almost always almost entirely people I know and am close to, just with their attitude towards me moved an inch to the left

Anonymous said:Hi, I think I might have madd? I dream that my world/situation is better. Like I imagine that my house is spotless or that i live in an apartment on my own, something like that. I’m always joined by celebrities/fictional characters. I sometimes dream without realizing it but mostly I’ve always just viewed it as my “pretend time” where I could dream about people just talking to me. It also ends up having a plotline and I have had real emotions over things I realize I made happen in my own head.

Sorry to lump all these together in one post, I’m really behind. 

 TLDR:

A1 has characters borrowed from existing fiction

A2 same, or possibly OCsA3 fictional characters and celebrity combo, not fitting into a ‘para’ definitionA4 switches out characters and plots often

A5 daydreams conversations not plots

A6 characters are people they know IRL

A7 daydreams better circumstances, celebrity/fictional character combo

What these all seem to be getting at is “is it MD if I don’t daydream about certain things or in a certain way?” Yes.  Yes it could still be MD.  Could not be, but the details of the daydream don’t tend to help in determining that. Here is a link to the (proposed) diagnostic criteria. The only part of the criteria which deals directly with daydream content is this bit:

Persistent and recurrent fantasy activity that is vivid and fanciful… While daydreaming, experiences an intense sense of absorption/immersion that includes visual, auditory or affective properties. 

  The source for your characters, the longevity of your plots, the themes and level of emotional attachment are going to vary widely.  There are, of course, types of characters and plots which are more rare (conversation anon) or common (celebrity anon) than others.  Here’s a source link for the image below, which describes the most common main themes described by MDers:

[whmguidetoffxiv]

A WHM's Guide to Inventory Management

There's a lot of stuff to collect in Final Fantasy XIV. And I mean A LOT. Even for a veteran player, keeping a decluttered inventory can be a daunting task. Let me walk you through some of the basics of your inventory and some of the tools you can use to make space for that one special item you've been tracking down for weeks.

This is your inventory. Well, your inventory and a retainer's. You've been gathering this stuff as you adventure along because hey, it has to be useful, right? right?

Well, not always. Let me break it down for you.

Here's the same pic, but I've broken your collection down into categories. (This is the default when you use the 'sort' option; you can customize this in the menu I'll show you in a bit.) First is your armor and weaponry. Now, normally this will default to your Armory Chest, but after a while that gets clogged up and prevents you from changing classes. There's an option to fix that, which I will also show in a bit.

Second is your Consumables (food/pots) You'll get a lot of these early on, but because their effectiveness is based on a stat up to a certain limit, they lose their effectiveness the higher level you are. The exception is pots like Antidotes, Echo Drops and so on; those will clear certain debuffs, and I do recommend having a few on you at all times.

Next is your consumables (gear/equipment) You'll find your Materia, Dark Matter, and things like Fish bait. Unless your Materia looks like what's in the photo, it's not worth holding onto. Some of it resells well on the marketboard, but a lot of it can just as easily be sold to a vendor. You CAN meld it to your gear if you want, but because of the insane XP buffs it's not really worth it because you'll outgrow your gear before the extra stats really matter.

Then there's your crafting items, and what's likely going to be taking up the bulk of your inventory. It's a bit tricky to delve into here, but for the most part you should only be carrying the items that you use as a crafter, or are very hard to find. (check the MB price for an item; if it's expensive, and I'm talking like 300k+ expensive, it's hard to find.)

Then there are Housing items; it's pretty easy to get an apartment, which can be decorated any number of ways. Again, most aren't worth holding onto unless you want to use it. Remember; The Market Board is your Friend!

We're going to jump over to my Retainer's inventory for the next category; Vendor currencies. You'll pick up any number of these as you reach the end of an expansion pack and unlock raids. Each raid has a currency that you can use to buy special gear, weaponry or items; I would only hold on to these if you're a glamour nut (like me) or there's a particular mount/minion/whatever that can only be bought with the currency. The exception, of course, is the current end-game currency. (That would be the armor of antiquity, as of ShB) Use them to get gear to strengthen your secondary classes so they aren't completely left in the dust.

Last is the miscellaneous stuff; gardening soil, sparklers, and the like. They have their uses (unless it's the Indigo Star) so it's up to you to figure out how to use them.

So now you know what's in your inventory; what do you do with it?

Remember that option menu I told you about? You can find it here. (Character Configuration--> Items) Here you can choose how your inventory is displayed, whether or not to send new armor/weapons to your armory chest or your inventory, and how the sorting system breaks down.

Next, let's take a look at the tooltips for your items. I'm using a weapon here because it has the most information. It's important to know if the item is Untradeable. That means you can't trade it to someone else or sell it on the marketboard; you can only discard it. This tends to be stuff like Legendary weapons or special items received in dungeons; Those will have a blue or green background, and usually aren't dyable. Only keep them if you plan on tossing them in your glamor dresser or saving them for another class. You'll note the logos in the top right; when those are yellow, you can put the item in question in your armoire or glamor dresser.

You'll also see the shop selling price. If you're going to put something on the MB, it should not be below that price. Otherwise, you can just have your retainer sell it.

Let's get to the meat of the subject; managing your inventory. If you right click on an item and click 'search for item' this menu will pop up showing where that item is in all your inventories. For example, I have Mhiachi matter in three different places. It should not be in three different places.

You can also click 'see recipes using this material' to see if something is a crafting item you need or not. If nothing pops up, it's likely a special vendor currency. I recommend using either the Lodestone or GarlandTools to look up the item outside the game to see exactly what it does.

So how do you clear out your iventory? Well... Start with how many inventories you have. You have your most basic inventory, which has 124 slots. These should be the items you use every day and need constant access to. (Pots, food, crafting items, ect...) Your Key items and crystals are kept in separate tags, so you don't need to worry about those.

Your Chocobo Saddlebag should be your 2nd; stuff you may not need RIGHT THIS SECOND, but good to have on hand. (items for relic steps, items you can normally carry only one of, ect...)

If you hired a retainer, they should be the ones holding your extra crafting items, your rare items, and your vendor currencies. You get two for free with your subscription, and you can pay an additional IRL fee to have more retainers per month.

Keep in mind that 90% of the items that pass into your inventory can easily be re-gathered or purchased on the marketboard. An item will tell you if it's special, and most of the stuff you'll find pre-ShB won't stand up to the lastest, in terms of consumables. If you're ever in doubt, check GarlandTools or the Lodestone, or just ask someone!

One more tool to know about is Desynthesizing items; this unlocks after a certain level in crafter quests, but it allows you to break down unwanted items to a base component and some crystals. I recommend turning in items like these to your Grand Company first, to build up seals. But this is a good alternative if you're maxed out on seals and just want to get stuff moving. (Or need crystals.)

Ultimately, how you sort your inventory is up to you; do you plan on becoming an Omni-crafter, or never picking up a hammer at all? Are you going to level every single class? Maybe only a few? Are you hunting rare items to sell on the marketboard and make a profit? Your inventory management is going to be based around that.

Try picking a time once a month to go through all of your inventories and ask yourself, 'does this spark joy?' 'do I need this or was I saving it for something?' If not, you can probably sell or toss it. You might find a weapon you set aside, only to come back and realize you've already out leveled it. You might need three nagxian silk for something, only to do a search and realize you already had two.

Best of luck on your quest for inventory Zen! See you around Eorzea!