#especially if the character is NOT like that in their personality

[momochanners]

After a good night's sleep, I think I can better solidify my thoughts in regards to the Dragon Age trailer.

First, let's start with the positives:

- Companion diversity: This has always been part of the series' DNA that has been clearly depicted with every iteration, so those who cry foul over "Asian & Black elves", prosthethics, etc etc...I really don't get that, because values and sensibilities evolve over time. Even the series itself has course corrected when needed, eg. Player character creation influencing the family ethnicity of the Couslands in DA:O vs the Hawkes in DA2.

- Unlocked romances: Letting players choose whoever they want to romance regardless of their sexuality and race has always been a positive for me. Allowing everyone to enjoy the experience equally is great (and I'm sure the nuances of player race & gender will be addressed through dialogue and banter). Moreover, CRPGs are long and time-consuming, so to be locked out of character romances mid-way through is never going to be a good time (from personal experience and observing fandom in the past).

Now the negatives:

- Maybe it's me being on the older side of the Bioware fandom (15 years in Dragon Age, 20 years if you count older games like KotOR and Jade Empire), but I cringed very hard watching the trailer. If you followed the development of this game in the past decade, the cancelled live service element that was to be DA4 in one of its iterations was so all over the way the companions were introduced that it brought out a visceral reaction in me. The tonal whiplash from how foreboding Dreadwolf was presented in the past to the patronising happy quippy MEET OUR LITTLE GUYS YOU'RE SURE TO LOVE also did not help as a first concrete look of what to expect after all this time (also poor anachronistic choice of soundtrack when you already have Trevor Morris' compositions right there). I was so dismayed when they went with a looter-shooter-esque lighthearted vibe when they could've leaned hard on the foreboding established mood and momentum they've already got going with Dreadwolf. 

- The branding switch this late in the game that comes with it, especially one as drastic as this will always come with questions and ambivalence. I feel that mitigating uncertainty from announced changes (party number, combat mechanics, setting and environment, etc) should've have been prioritised to reassure existing and lapsed fans before appealing to new ones in such a jarring way.

-  I'm simply baffled at the marketing suit who signed off on whatever this is to be their "best foot forward" at reintroducing the final form of this game? If only there were confident with the world they've already built instead of relying on trendy gimmicks, the amount of damage control I'm seeing prior to the gameplay reveal tonight was so avoidable. Controlling the narrative from the get go is so very important especially now as opinions can easily snowball overnight into behemoth-like proportions especially from bad faith actors. You would think that lessons were learned from DA:O's "THIS IS THE NEW SHIT" and DA2's "Press a button, something AWESOME happens" debacles.

(The thing is, despite it being my least favourite DA out of the three, imho Inquisition has the best marketing campaign in the franchise despite the developmental troubles going on in the background. So it has been pulled off successfully before!)

- I think the Bioware layoffs, especially the recent extensive gutting of senior staff in September 2023, significantly depleted my goodwill as a fan. To see Varric being paraded as a mascot in the trailer, game promotion and supplementary media while having his creator unceremoniously let go after years of building the franchise we love left me so very cold. And it's a me problem, but seeing many other fans barely acknowledging that save for few hollow words before getting back into the fun frustrated me so much. I get being excited to finally get something solid after years of false starts, but with what was lost along the way...I personally don't feel right to approach this installment without cynicism.

Idk, I'm just a bundle of conflicted feelings over this series I guess? When it's so good, it's really good and stays with you as memorable gaming experiences that stays with you for life, but when it stumbles and fumbles the bag...it hurts to see.

[asidian]

One thing I haven't seen talked about is Crystal's character arc, and specifically the way the timing of it interacts with Charles' arc. They stumble over each other in the worst possible way en route to their respective character growth, and from a narrative perspective, it's absolutely genius.

I'm going to preface all this by saying: none of this is a criticism of Crystal. Part of what makes her such a dynamic, refreshing character is that you don't get to see women in fiction written the way she's been written. You don't get to see women with her flaws that aren't throw-away mean girls or villains. You especially don't get to see women with her traits who learn and grow and become better people. So yeah, I'm going to talk about Crystal's character flaws. No, this isn't Crystal hate. We love our girl in this house. Okay? Okay. Let's start.

Crystal's character arc, at its heart, is all about her learning to be a better person because she has good influences that love and support her for the first time.

When the show starts, Crystal is not a nice person. She's abrasive in a way that's specifically designed to push people away. She's used to getting her own way, and it shows. She's used to having no meaningful connections with anyone, and it shows. She's breathtakingly selfish, in the very literal sense of the definition. She is focused on her self. Her problems are front and center to her; everything is about what she needs, and what she wants, and how she's struggling.

Jenny calls her out very early on. In episode one, Crystal is complaining about the boys, and Jenny, for all her cynicism, strikes right at the heart of the problem. She tells Crystal, "Everybody is always thinking about themselves, all the time." People only care about their own problems. And she says, correctly, that that's what Crystal is doing, too.

This moment is a revelation for Crystal. For the first time, she considers what her behavior looks like from another person's perspective. As she says, she gets mad at herself over it, and that awareness allows her to do something selfless for the first time in the series. She takes a step back and insists that instead of focusing on her problems, they go to help a little girl. It's a big moment for her.

But importantly, she's not done growing as a character here. She's only just getting started.

On my first watch through, I didn't realize how often, over the next few episodes, Crystal redirects things to her problems during conversation, but it's quite a lot. She's still focused on herself – selfish, in that most literal definition of the word. The issues most important to her are her issues. She's starting to learn to think about other people, but she's not there yet. The process is still underway.

Which brings us to Charles.

Charles' arc is a different sort of self-reflection. He's terrified that he's a bad person the way his father was and the way the boys that killed him were.

During the course of the show, he gets systematically stripped of his confidence and made to feel helpless, and just like Crystal needs outside influences to help her reach a more stable place, Charles does, too. He desperately needs reassurance that he isn't everything he's afraid he is.

But my goodness, the timing in their arcs is such a trainwreck when you put them together, and it is brilliant.

Let's start with the Devlin House.

Crystal has some amazing character growth here. She displays genuine concern about Charles, makes an attempt at comforting him, and learns to work with Edwin even though she still doesn't particularly like him at this point.

Charles, meanwhile, is beginning to fall apart. He's just had the worst night of his afterlife. He's been viscerally reminded of how helpless he is. He couldn't stop the Devlins from being killed over and over, just like he couldn't stop his own father's abuse. He messed up his attempted rescue so badly that he was completely out of commission until the case was finished. He managed to help not one single thing. He made no impact at all. He couldn't help those girls any more than he was able to help himself, while he was still alive.

So they get back to the butcher shop, and what do we see? Monty immediately coopts Edwin. Niko doesn't know what's happened because she wasn't there and Charles has been all fake smiles with her. And Crystal goes off with Niko, leaving Charles to flounder on his own in the wake of everything. She's still learning how to support other people. She isn't there yet, and it's extremely on display in this moment.

Then we get the lighthouse episode, and they both get put through the wringer here. Crystal gets her hopes and expectations jerked around by the Night Nurse in the very worst way, and Charles gets hit with a whole pile full of trauma. All that helplessness wells to the forefront again. Combined with being forced to relive some of his worst memories and the desperation to keep Edwin safe from hell, Charles lets himself act on his anger for once.

And what does he get in the aftermath? Horror.

Everyone who cares about him is horrified by what he's done. Edwin goes so far as to call it extreme. They don't know the half of it, of course; they haven't seen what the Night Nurse just put him through. But in this moment Charles is at his absolute lowest, and all he sees is confirmation that he's exactly as terrible as he thinks he is.

That's why Charles shrugs off Edwin's attempt at comfort, here. When he needed to be able to do something to protect Edwin and also himself – when he needed to believe that he could be better than what his father always was – all he sees is the confirmation from the people he cares about most that when push came to shove, he really is a bad guy.

Then comes the aftermath. And this moment is such a brilliant, awful clash of both of their character arcs. It is so delightfully messy.

Because Charles starts to open up to Crystal here. He starts to lay himself bare, the way he ends up doing with Edwin in episode 5. He's on the verge of admitting something that he's been worried about for literal decades. He tells her, "I've been angry for such a long time."

And what does Crystal do? She's still in the midst of her own character growth. She's still struggling to support other people. She's still learning how to. In a lot of ways, though she's made progress already, she's still that selfish girl that Jenny called out in the very first episode.

And she shows it here it with the absolute worst possible timing. No sooner has Charles started to talk about what's bothering him than she cuts in with her own problems. She's tired of riddles and spirits and demons and not knowing who she is. And the look on Charles' face. The moment when he visibly sets aside his own problems, because Crystal doesn't need any more disasters on her plate? It's heartbreaking. You can actually track the subtle change in his expression there. The actor does a phenomenal job.

And then comes the kiss. And what spurs it? Crystal saying she needs something real.

This moment isn't about light-hearted attraction, the way the earlier flirting is. It's Charles setting aside what he needs – comfort and reassurance and a moment to talk through the things that have been tearing him apart – to give her what she says she wants. He can't even feel it. And Crystal isn't far enough along in her character growth here to realize how selfish she's being. Like Jenny said way back in episode one, she's only thinking about herself.

And then comes the absolute unmitigated disaster of episode 5.

Straight out the gate, Charles leans in for a kiss. From his perspective, they have something together; there's affection there. Charles "I think I'd miss kissing" Rowland, who has been starved for meaningful physical contact for thirty years, is not in a hurry to give this up.

But Crystal is fresh out of a nightmare where she conflates Charles with her abusive ex. She withdraws; she calls what they had a distraction. She cuts it off almost as soon as it's started, so focused on her own worries here that she misses how damn fake Charles' smile is, to cover up that he's coming to pieces.

To be clear, she's absolutely not in the wrong here. It is 1000% her prerogative not to jump into a relationship again while she's still struggling to work through what happened with David. But the arc of her narrative is still early enough that she does it all without so much as the awareness that her focus on her own issues has hurt Charles terribly.

And then the episode really kicks off, and both of them are in shambles in very different ways.

Crystal is projecting her issues with David onto Charles. She has a lot of history, and David seems as though he's exactly the right sort of toxic to leave lasting a lasting impact. But Charles hasn't done anything to deserve her assumptions, and he takes the brunt of her temper here and throughout the episode.

Charles is desperately projecting onto the dead jocks. He very badly wants them to be good guys, because he sees himself in them and he needs himself to be a good guy. He snipes back at Crystal for the very first time in this episode, and he does it in the worst way possible, accidentally prodding her where it will do the most damage.

They're both hurting. They both say some truly painful things to one another.

She does not need to hear that she has unsorted hangups about David still plaguing her while she's unable to move past them. He desperately does not need anyone to tell him that he has rage issues while he's still struggling to think of himself as a decent person.

They apologize, in the end. They start to move past it.

But it's telling that Charles doesn't try to open up to Crystal again. He goes to Edwin instead, even though Edwin is the one who called his actions regarding the Night Nurse extreme. He gets the reassurance he needs so badly; he gets the connection he was looking for with Crystal from Edwin, instead. (I have a lot of thoughts on why Charles initially tries to open up to Crystal so quickly, but it is very much an aside, and this is already extremely long, so it will have to wait for another write-up.)

But the important thing here is, Edwin is the one to offer Charles what he needs to overcome the self-doubt eating him alive. Edwin provides the physical affection Charles was seeking in the form of that long-overdue hug. Edwin is the one who's able to reaffirm for him that he's not just a good guy, he's the best person Edwin knows.

And for all intents and purposes, Charles' major character arc ends here.

Charles has a few last little moments to go on the path to rebuilding his own self-image, after this, but for the most part his concerns have been resolved. He saves Crystal in episode 6 and Edwin in episode 7, proving to himself that he's able to make a difference in the face of overwhelming odds. He's not helpless, no matter what the Night Nurse told him; he can be a force for good in the world. By the end of the series, his crisis of self-doubt seems to have been largely overcome.

But it's the conversation with Edwin at the end of episode 5 that really allows him to work through his most pressing issues. Edwin is there to help support him when he stumbles. Edwin provides him the comfort he was looking for while Crystal was too worried about her own problems to notice how badly he needed the help.

Crystal, meanwhile, still has a ways to go after episode 5. The last three episodes are where she does her most important character growth.

In episode 6, she learns some hard lessons about keeping secrets and letting people help and appreciate you even when you can't offer them anything in return. And Charles, importantly, is there for her every step of the way. He consistently offers her physical and emotional support. He models for her, in a very real way, what it looks like to have someone prop you up when you need the help.

And in turn, Crystal steps in to save the boys. She's the big damn hero at the end of this episode.

The breakthrough continues into episode 7. She's so intent on helping to get Edwin out of hell that she literally goes to face her own demons, not for herself for once – not for her own purposes or needs or wants – but because she wants to help someone else.

And episode 8, at long last, brings her to the culmination of her character arc.

Crystal is at her absolute lowest here. Her family, the people who were supposed to love her unconditionally, didn't even realize she was gone. Her precious memories, that she's spent the entire series trying to regain, have showed her that she's not the person she hoped she would be. She's overwhelmed enough that she means to flee, to cut herself off from her new friends entirely.

Then the boys get kidnapped. And just like that, she makes up her mind.

For the first time since the start of the series, she sets aside her most important issues in order to let what other people need take precedence. She disregards all of her own personal concerns and focuses instead on others. She's finally stepped out of those selfish impulses that Jenny calls her out on, all the way back in the first episode. She's finally learned how to support other people when they need it.

Crystal has finally figured out how to be there for others, despite having troubles of her own.

It's a lovely arc, and it's beautifully done.

Charles' is just as touching.

And god damn, but it was a brilliant narrative choice to have their character arcs line up in exactly the wrong way.

[jiarkives]

touchy-feely

⋆.˚ ᡣ𐭩 .𖥔˚ summary — nanami’s love language is not physical touch, or so he thought until you came along.

⋆.˚ ᡣ𐭩 .𖥔˚ character — nanami kento (jujutsu kaisen)

⋆.˚ ᡣ𐭩 .𖥔˚ content — fluff

⋆.˚ ᡣ𐭩 .𖥔˚ notes — based on a headcanon on a tiktok i came across earlier 😋 reader is described to be smaller/shorter than nanami ,,, also, i am not sure if i am using the title right, please do lmk if i’m not so i could change it 🤍 english is a very tricky language, especially for non-native speakers like moi 😔

~

Nanami never thought of physical touch when he thought of his love language. His top 1 would be quality time. Acts of service would come a close second. But physical touch? He didn’t even think he had it in him to be affectionate with his partners through touch.

But then you came along, worming your way into his life very slowly but very surely, breaking down and through his walls, and before he knew it, he was yours. Completely and wholeheartedly yours.

And that was when he realized just how much he loved touching you and he much he loved you touching him, and how starved he actually was of affection and, well, touch.

You have been together for years now and it was safe to say that you are in the point of your relationship where you would be acting your craziest and silliest around one another without feeling embarrassed. However, you two are not very vocal with your relationship in public. Hell, your coworkers did not even know you were together until they caught you on a date one time outside of work.

It isn’t that either of you were embarrassed of each other, no. It is more like you wanting to reserve your affections for more private affairs. That did not mean he was not affectionate with you though, and you with him.

In fact, Nanami has to be touching you almost all the time. It isn’t the grander gestures like hugs and kisses. They usually are smaller actions, like your knees touching under the table as you eat together. He would often interlock your pinkies as you walk down the streets. If not that, then your hands would be intertwined. When you eat out, his hand is on the small of your back as he guides you through the restaurant door, then he always pulls out a chair for you first, guiding you to sit with, again, his hand on your upper back or your shoulder. In crowded areas, his arm would find its way around your waist, pulling you closer to him.

And when you are in the comfort of your shared home, he would often stare at you adoringly as you do your own thing, his hand moving as if it has its own mind to brush stray hair away from your face. On movie nights, your head would be resting on his shoulder with his arm is around you, absentmindedly stroking your arm with his thumb.

On his bad days, he would come home to you and would immediately pull you with him to sit on the couch, his arms wound around your waist and his head on your shoulder. Oftentimes, he would pull you into his lap just so he can hold you closer and tighter.

Even in his sleep, he has to be touching you. You would fall asleep wrapped in his arms with your head resting on his chest and you would wake up facing away from him with his arms still around you and his chest pressed to your back.

In conclusion, Nanami could not be described by other people as a touchy person, unless it’s you. If they ask you, then boy are they in for a shock.

[flor4zul]

ok, this is hopefully the last i'll be talking about this, i'm too tired to make another call-out response doc, but as you can see here and here, @/somnimouse not only misgenders me all the way through, while defending her TME bestie's use of tranny in her game, prioritizing a fictional character over a living breathing transfem...

the "abuse" Somni refers to here are my past quarrels with other devs back in a time i really didn't know much better? I also never had power over these other devs, and the quarrels were mostly me asserting boundaries and what not. I clearly remember Somni in fact siding with someone way older than me who publicly belittled me.

personal arguments online are not abuse, especially when i indeed had others put me in my rightful place for my misbehavior.

it's very easy to frame someone you don't like as an abuser when you don't know what the hell abuse even entails. and not only that, your nonblack TME ass doesn't know what transmisogyny/noir is, which is what is very much being perpetuated here.

do not support the work of Z @/zelda-assassin , nor Remi @/plumrou, nor Somni, for these individuals are foul and would rather protect their fragile feelings over the safety of real life transfems. i said once and will say again, i am not your OC, and fiction impacts reality.

REBLÕG.

[tyrantisterror]

I've been in a Digimon mood and, like, man, we gotta give it to the dub voice actors for giving a wide spectrum of villain voices and personalities to the original Digimon Adventure. Like, above here, we have the quartet that serves as the final(ish) villains of the series: a cyborg sea serpent that sounds like a surfer dude, a goofy little puppet boy, a theatrical yet menacing clown in the vein of Pennywise, and... Machinedramon.

Straight forward and batshit terrifying Machinedramon.

Like, there's a lot of weird shit in Digimon Adventure, and there was a delicate balance to strike to make it all feel tonally consistent, especially given how high the stakes get (and how dark the series was willing to go at times). You can't do it completely straight-faced when there's talking poop monsters and other goofy goobers running around, but you have to be serious enough for things like the death of Wizardmon to have the weight they deserve, and the dub team for the American cut of the show actually put in the work to pull that off.

I posted this video like a week ago or whatever but, like, Etemon really was the big test of the dub team here. Making a character design like Devimon into a big threatening villain is hard, but when the series decides its second big bad should be a rockstar monkey, that's... that's a much harder sell, man. And they definitely embraced the humor with the Elvis persona they gave American Etemon, but also managed to make him... genuinely threatening despite it? Like, Etemon's funny, but you also know he's a legitimate threat to the kids that they can't afford to underestimate.

Which is what allows the Dark Masters up top to work so well. Between them and Etemon we get Myotismon, who like Devimon is not hard to take seriously - an evil vampire overlord isn't a hard sell for a villain. And the Dark Masters aren't either, for that matter - even Piedmon and Puppetmon, the goofiest looking of the quartet, are pretty stock horror archetypes: an evil clown and an evil living puppet. But, as if missing the fun that Etemon brought to the table, the dub team decides to give them all a bit of a comic edge - Metalseadramon has the surfer dude voice, Puppetmon sounds like a goofy wee puppet man, and Piedmon's theatrics are played for comedy in a Joker-y way.

Not Machinedramon, though. Every comedy troupe needs a designated straight man, I suppose.

And, like Etemon, they succeed at being genuinely threatening despite the goofiness. When Metalseadramon and Puppetmon are hunting the kids, the goofy bits of their characterization seamlessly blend into the fact that they're still clearly deranged murderers deadset on killing children and anyone who gets in their way. Piedmon successfully acts as the big chessmaster of the quartet, and Machinedramon...

Machinedramon is just terrifying.

[zkaus]

At the back of my copy of The Vampire Armand, there's an old interview with Anne Rice talking about creating that novel. I've never forgotten her answer to one of the questions... It haunted me for years.

It gives incredible insight into how and why she wrote such beautiful, brutal and broken characters, and what she endured in the creation process.

BUT before you read this, I'm going to STRONGLY warn you, it goes to very very DARK places

Q: What are your work habits for a novel?

A: Once I truly begin to write, I work obsessively, in twelve-hour days, punctuated by days of long sleep and vivid dreaming. Starting time and ending time are no longer important. I might begin at 9 A.M., or after noon or at eight in the evening. I go from there. I turn on the computer and write, write, write.

My room is a mess. Notes are scribbled on the walls so that I can look up at them at the appropriate moments and insert the date, the name, whatever, when I need it. Books are stacked so high that people have to search for me when they come into the room. Opened books with marked-up pages are stacked on top of one another.

I become suicidal. I go through a horrid despair some time or other before the final page, during which everything seems meaningless—from the dawn of history to the very hour in which I am writing.

I’m intolerable to live with. But I spread myself thin over a number of loved ones and staff members so that no one person has to put up with how intense, hysterical, and miserable I am.

When I get elated and talk fast and furiously about wonderful aspects of history or the characters, or good developments in the story, people run away from me. I don’t blame them.

While the novel is being written, I try to avoid dressing for outdoors. No one can make you go out if you don’t have shoes on. Not even in the south. I wear long velvet robes and soft velvet slippers. I refuse to go out. All food is brought in. I eat hamburgers because they are easy to hold with one hand while reading and holding the book with the other hand.

In the middle of the night I read, sometimes on the carpeted floor of the bathroom, just because it’s warm. I am wretched. I don’t care anymore about being abnormal. Writing is everything. Everything. It seems impossible to write the book. It seems impossible to lift a hairbrush to brush my hair. But I do it. I put on mascara every day that I write.

This period of intense work lasts about six weeks. It’s best that way. My imagination is overheated, and my memory clogged with data of varying importance. If I go over six weeks, I begin to forget things; I feel the loss of intensity and information and I become all the more self-destructive and obsessed.

The end of the book is a big event for me. A big event. I start screaming. I put the hour and the date at the end of the last page. I expect everybody to understand, at least a little. It’s a triumph! The darkness of destiny has been driven back for a brief while. I celebrate. I scream, eat chocolate, and sleep.

Right near the end of writing The Vampire Armand, I realized I had to return to Italy, especially to Florence, and at once I began to make preparations for the trip. As soon as the novel was finished and off to the publisher’s, as soon as it could be accomplished, I flew to Italy. That gave me hope, a way out of a life threatening darkness that often follows the climax of a book. But I still ate chocolate and screamed.

While writing, I don’t want to rest. I don’t want to sleep. Why sleep? It seems stupid, except when weariness overcomes me like a giant cloud of poisonous vapor. Then I sleep fifteen to twenty hours. I tell people to go in and out of the bedroom and ignore me lying there, as if I were dead. I won’t talk on the phone. I won’t open my eyes if I don’t have to. I dream terrible, upsetting dreams.

I want to kill myself. But I can’t. I can’t do it to other people, and I have work that must be done, novels that must be written. So I don’t kill myself. Besides, I don’t think it’s good to kill oneself. It’s a horrible idea. It has a horrible effect even on acquaintances.

I think a lot about people I loved who are dead. I think of how dead they are, year after year, ever more dead.

[lilacxquartz]

under the bed, where midnight slept

oc male!demon x human female!reader

plot: haunted by a strange presence every night before you go to sleep, you decide to get to the bottom of it.

w.c: 2.4k

tags/themes: one shot, oc, maybe light yandere, kissing mentioned, incubus, demons, reader insert, first person pov, light horror, unrequited feelings

side notes: developed a incubus demon oc a couple of days ago :) his name is midnight & i’m basically gonna try writing for him on and off to flesh out his character (but i can’t draw more of him just yet due to the arm situation).

***

I always went to sleep alone.

Or at least, that’s what I kept telling myself—that’s what I wanted to believe. I lived by myself, after all, so it would have been silly to assume otherwise.

Yet, every single night, I felt it. A presence that lurked within the shadows, watching my every move.

At first, I chalked it up to simple exhaustion, convinced that my job was finally getting to me in the worst possible way. I worked long and heavy hours throughout the week, sometimes even during weekends. My unfortunate reality meant that I was often very tired, leading me to usually be on the brink of dozing off by the end of my shift.

But then my mind began to wander, especially as the recurring experiences became more and more commonplace. My secondary suspicion was that I must have been dreaming or I must have been hallucinating, however, why were the happenings then so linear? I had been under stress before and I have had many nightmares in my life—yet those always manifested in a chaotic manner instead.

And that’s exactly what started to bother me, because dreams, while recurring, couldn’t have been so perfectly refined.

It was always the same experience, in fact.

I would lie down in bed and just as I was on the verge of sleep, I’d hear it—a whisper of some sort, faint and scratchy, like an out of tune radio. Then the floorboards would softly creak and I would feel the second thing; the unmistakable presence of something, maybe even someone else entering my personal space.

For just a split second, right at the cusp of entering the unconscious world; I would feel a strange warmth fill out my otherwise vacant hand. Something unseen that would latch onto my palm, weaving what felt like fingers through mine and squeezing tight.

Yet if I awoke during the night for whatever reason at all, it would immediately vanish from my grasp.

I even checked under the bed with a flashlight once, never finding a single shred of evidence.

And in the mornings, the presence wasn’t felt at all.

Although sometimes, a trace of it did remain; a hint of something that was left behind. It was during the nights when I would get up to drink some water from the kitchen or to go use the bathroom, that I didn’t feel entirely alone. It was an unsettling feeling but it was there—lurking in my peripheral vision, just barely staying hidden.

It was the presence of something uninvited.

Whenever I’d flick the lights on however, there would be absolutely nothing. Not a single trace of evidence remained. Lost overnight, like a distant dream.

It would either happen just as I was about to fall asleep or not at all.

Despite this, it never truly felt like it was a problem.

For one, it wasn’t as if it was actually disrupting my sleep. In fact, I would always wake up feeling well rested with each fresh day no matter how overworked I would be. Yet, I couldn’t quite shake the feeling that there must have been more to all of this. Something that lurked in the back of my mind that refused to let it go as an unsolved mystery.

It made sense given my stubborn personality, I supposed. I knew that there had to be a reason for it all, no matter how insane it all seemed.

So when my unrelenting curiosity finally caved in, I could no longer ignore the unanswered question, knowing that I wouldn’t be able to let it go until I finally found an answer.

Whether it was all in my head or not—I had the right to know.

So, on one particular night, I chose to catch whatever it actually was that lurked away in the shadows. My plan was simple enough; choosing to fool it into showing itself by pretending to sleep. I slipped two wireless earbuds into my ears, tuning them into a podcast to hold my attention before laying off to my side, just like usual.

To ensure that I would actually stay awake however, I would on occasion stretch out my legs or clench my fists to ward off any hints of exhaustion along with deep, slowly measured breaths that casted the illusion of feigned slumber.

I continued with that sort of ritual in mind, just barely hanging onto my remaining consciousness, just about to fall asleep from what I believed to be a failed effort, but that’s also right about when I finally heard it; a subtle creaking, perfectly timed with each drawn out breath to mask its approach.

A shiver of unease crept into my body as I felt a lurking presence loom behind me, confirming to every sense I had that I was no longer alone.

In an attempt of bravery, I continued to feign sleep for as long as I possibly could, staying tucked away into my assigned position, having my hand right where it always was, hoping to successfully delude whatever it was waiting for me that I was actually on the verge of dreaming.

However, the moment that something slipped into my waiting hand, my composure began to crumble away. It was definitely a hand that I felt. I could feel it with every fibre of my being, in fact; so warm and soft, yet with an unsettling firmness, like marbled flesh. It clasped my palm tightly, interlocking its digits between my fingers in what felt like a suffocating grip.

My breath then caught in the back of my throat as the momentum faltered despite my efforts to keep my act running as smooth as possible. Towards the surface of my back, I felt something dangerous settle right behind me. Raw skin, hot against my own, pressed up right against my exposed flesh. A wave of panic coursed through my body, anchoring in the pit of my stomach as I then soon felt something attempt to embrace me.

I gasped in retaliation, unintentionally giving away that I was in fact awake.

Without even waiting for its reaction, my body involuntarily tensed, prompting for it to withdraw slightly and with a surge of adrenaline, I then tore away from the unknown presence—lurching to the other side of the bed and pressing my back right up against the wall.

I knew for a fact that it disliked bright lights, so my next course of action was to seize the opportunity of the moonlight that shone right outside to reveal its identity to me instead. With a swift pinch, I flung the blinds open, bathing my bedroom in a cold glow that revealed a monstrous figure to me, basking it in the soft blue light.

At first when I saw it, I didn’t really have a reaction.

I was left feeling stunned… speechless, even.

It was so beyond anything I could comprehend from this world, that I was left rendered unable to form a single coherent thought.

I mean, who could do anything different in my shoes?

Just over the bed sat a kneeling figure; its form shrouded entirely in wisping shadows—its body flickering like black fire with tendrils of darkness whipping from its void-like core. The creature’s eyes glowed a pale grey with lacking pupils, yet I knew that its gaze was pointed right at me.

My eyes continued to widen as I studied it—a rushed slurry of internal scolding flooding my mind, telling me off for daring to be so curious.

Back then, I didn’t know what to expect.

But it certainly wasn’t a monster.

Still, in spite of my fear, I couldn’t pass on the opportunity to learn more about the entity I shared a living space with.

With trembling courage and an insecure tone, I managed to utter, “What… are you?”

The creature’s initial reaction in response to me was to remain stationary, as if showing hesitation within its otherwise threatening demeanour. It then tilted its head to the side, emitting a low static-like hum that only continued to feed further into my unease.

Finally, however, it spoke.

“Don’t be afraid,” were its first words ever to me; it had a deep and almost melodic voice, almost human-like but tainted with something deceptive below the surface. I felt like a deluded sailor talking to a siren lost at sea, yet I was right at home.

I choked back any possible response I had brewing in the back of my mind though, paralysed by my own panic that locked my words somewhere far away. My heart thundered deep within my chest, drowning out all remaining rational thought and sent waves of fear coursing through my entire body.

I was trapped.

A tense moment passed us both by as nothing was said for a while, but then it started to back away from the bed and slowly arose to reveal its true height. Its features became clearer in the moonlight, revealing protruding horns from its head with long wavy locks of black hair.

I gulped hard as I watched it straighten its back and tower over me, its height just barely contained by the confines of my own bedroom—its horns almost scraping against the ceiling. I could just hardly, if at all, comprehend just how tall this creature truly was.

“I only wish to comfort you,” it insisted, taking a calculated step back. Whether it was to lull me into a false sense of security or not, I couldn’t be too certain and despite its words, I couldn’t shake the feeling of impending dread of it being an actual monster, at least at first.

Such a bizarre and surreal display left me wondering if I was in fact dreaming; my mind desperately grasping at anything that could have explained the impossible sight before me, but upon pinching my own skin, only the sharp sting of reality remained.

“Y-you’re real?” I could only ask, a hint of dismay colouring my voice.

“Yes,” it nodded, confirming my fears.

Another strained silence brewed between us for another minute. I stared at the monster and it looked directly back at me. I did my best in the meantime to express my visual discomfort, hoping that it would continue to leave me alone, however, it instead misinterpreted my stunned silence as an invitation to move forward and close the distance between us.

As it leaned in, I pressed myself harder against the wall in a last attempt to convey my reluctance, hoping—praying, that it would take it as a hint to finally back off, but it persisted, ignoring my silent protest and leaving me frozen from fear instead.

With continued building terror, I watched as the creature reached out, extending its hand towards me with what appeared to be sharp fingernails—brushing against my face before cupping my cheeks. I felt its fingers curl around the base of my skull, pulling me closer than what I was comfortable with, daring to press its face against my own, planting a kiss upon my lips.

I shuddered in relief as it slowly withdrew, leaving me once again separated away from it by a short distance. I still couldn’t make out a single feature on its form despite such closeness and yet the memory of its lips on mine lingered with the taste of its ashen breath.

I couldn’t help but feel violated after, yet some familiarity brewed, prompting a disturbing revelation to consider; has this thing done something similar to me before—perhaps when I was fast asleep?

My mind stirred at the thought either way, leaving behind a chill of unrelenting unease that rolled down my spine.

The monster continued to back away until it stood a comfortable distance away from me, leaving me feeling somehow confused. It was a strange situation no matter how I looked at it; it didn’t seem to want to harm nor consume me, rather only offering its touch and comfort.

It was almost as if it sought companionship from me instead.

I watched warily as it drifted just a little closer once more, as if struggling with its own inability to stay away.

“Please,” it pleaded, its tone bordering on desperate, “I only wish for you to sleep well.”

Perhaps it was the lingering aftermath of the kiss that was clouding my judgement, or maybe it was the lack of sleep after a long day, but something within me urged for me to finally surrender to its will, to let my guard down at long last.

Even if it didn’t feel like it was my own decision, at the time.

Swayed by a force unseen, relaxing my senses like some type of sedative.

So against my better judgement, I reluctantly gave in with a reassuring nod, allowing for it to move closer again all the while I did the same.

It wasn’t that I was suddenly unafraid of the monster that was on my bed, rather that I wanted for the peaceful nights to continue.

They were all I had left going for me in this otherwise unforgiving world, my only remaining comfort at the end of a long day.

I proceeded to lay back down on the bed, turning my body off to the side as usual, feeling its presence press against me once more. Its form seemed to envelop me; the shadows that spilled from its core encasing me in a suffocating shroud that pulled me into the darkness along with it. I felt as my own body gradually stiffened, slowly losing the ability to move a single inch at all, yet oddly enough, I didn’t feel a single hint of dread at all anymore.

All I felt was its comfort and warmth instead.

My eyelids drooped heavily as I finally surrendered to my own exhaustion, feeling them weld shut.

I then felt as the monster tightened its grip around me, pulling me even deeper into its personal space. Its breath felt fiery against my flesh as it dug its face into the crook of my neck, displaying an almost protective and maybe even wanting embrace.

As I drifted off into sleep and as its hold continued to tighten, it whispered something into my ear just as I was about to truly go under.

With a body that could have been sculpted from fire alone, its words felt somehow chilling and devoid of any remaining warmth. Its voice was no longer laced with a friendly tone, instead spiked with something much more sinister in its place.

“I’m never letting you go.”

And in that moment, everything changed.

My life was never the same again.

[gay-disabled-characters-showdown]

LGBTQ+ Disabled Characters Showdown Round 2, Wave 2, Poll 11

A character being totally canon LGBTQ+ and disabled was not required to be in this competition. Please check qualifications and propaganda before asking why a character is included.

Check out the other polls in this wave and prior here.

Hermann Gottlieb-Pacific Rim

Qualifications/Propaganda:

He uses a cane and is commonly shipped with Newt Gieszler. One of the better parts of Pacific Rim. If drift compatible why not gay.

Wylan Van Eck-Six of Crows

Qualifications:

Wylan has dyslexia (heavily implied, but not outright said bc setting) and is gay,

Dyslexic and gay!

They are in a adorable m/m relationship, and also have severe dyslexia to the point that (when eight) he could not read or write despite formal education

Wylan is gay and dyslexic!

Propaganda:

Wylan and Jesper have the absolute cutest relationship. Also, Wylan has dyslexia. I don't think it was outright said, but that was heavily implied. It just couldn't be set out loud for the sake of maintaining the fantasy setting. He's such a good character, and is primarily known for his skill with explosives, not his struggles with reading and writing. The other protagonists also never judge him for it, and the only character who does is the kind of person 90% of readers want to kill by the end of the series.

His boyfriend Jesper helped him fake being able to read so they could beat Wylan's shitty dad.

- He's incredibly sweet - But can also be ok with murder sometimes, like when killing unconscious people wasn't good - so just wake them up. - He was thrown out of the house and his father tried to kill him, because of said dyslexia, but managed to survive. Then rebelled against his father and with the help of friends took down his empire - He is very talented at the flute. And can draw very well, along with being a great chemist and demolition experts (hired for making flash bombs and other cool shit-) - Helps break into a world-class prison, then blushes the entire time because the person he's pared with keeps flirting with him - Asks his (eventual boyfriend) if he's into guys. Then immediately gets flustered when Jesper picks it up - Is very rich heir (due to shenanigans) and there's a one-off line about this sweet bean kind of being a sugar daddy- (just gives his boyfriend money to do stocks with, to stop him from gambling) - Supports his boyfriend throughout his gambling addiction and tries to help him overcome it

Wylan is dyslexic and because of this written off as stupid by his father. However, he is actually a genius, especially with chemicals, and he uses his genius and his new band of misfit friends to take his father down and read him for filth in front of a whole bunch of important people. He is good at making things explode. He also nabs himself a hot boyfriend in the process so good for him!

The qualifications and propaganda paragraphs correspond, @wisheduponastar is the third submitter.

[v-arbellanaris]

i feel like some of you are really shooting yourselves in the foot. i get it! trust me, i get it! i, well known dai hater, also have my anxieties abt da4 - and yes, even expectations abt things like where the plot is going to etc - but the teaser is TWO MINUTES LONG and i've been ripping it to shreds to get SOMETHING out of it, but the truth is that it's just not going to be indicative of the full game

the teaser trailers for dao imply that the sacred ashes quest is gonna be the huge memorable quest - and for me, they simply weren't? and how different did the actual game look to the teasers like let's be sooo real. da2 teasers hinged on the qunari invasion which was like... just one of many, many events in da2. and hawke and isabela didnt even look like that. i cant even remember seeing solas in the inquisition trailers?

the teasers aren't even for the plot, is the thing. these teasers are literally companion reveals, of course it's aimed to make the characters look cool and interesting, rather than really foreshadowing anything deep about the storylines - that's for things like tevinter nights, and the comics, and even absolution. it just feels really weird to use the thing they're using to advertise the companions for this game as a metric for the entire game plot and vibes. dao and da2 trailers were SO FUCKING INTENSE and then you get iconic lines like swooping is bad and hawke stepped in the poopy like...............

like da4 is not going to be dao. it's not going to be da2. it's not going to be dai either. all three of these games were tonally totally different from each other, and idk where the expectation is coming from that da4 will be like the other games. especially when the writing direction, as i've talked abt on this blog a few times already, is definitely changing and evolving. whether or not i personally like that direction is irrelevant to the fact it's happening.

i support the haterisms - god knows ive got my issues with it - but sometimes i just think you guys are unnecessarily hostile for weird reasons and i dont get it. "people who hate dragon age the most are people who love it" i dont think you guys like dragon age anymore, is the thing. which is fine, but i'm not obliged to tolerate it, or you. like you can just say: you liked dragon age origins. you liked dragon age 2. you maybe even like dai. and you're not interested in da4. that's fine. because da4 is not those games. i dont really care to hear abt the whinging abt how da's ruined or whatever - da hasn't been the same literally since da2, which was already a tonal shift from dao. da has been changing, and i have opinions abt the changes, but fundamentally, i am - cautiously, warily, anxiously - excited about a new game. new content. new companions. new maps. new knowledge. new narratives to chew on. aren't you?

if you're not, have you considered that you just don't like dragon age anymore? and that's fine? and you can just move on?

and idk why are you acting like a 2 min teaser is gospel for how the entire game is going to anyway? we know practically nothing, and at least try to keep that in mind when you're drawing firm conclusions abt the wholeass game based on the trailers because you literally WILL NOT KNOW. the teaser literally means nothing except: here are your companions. this is what they look like and where they're from. everything else based off the trailers is wild conjecture

[milksockets]

i’m cackling ok so i just went to this soul-crushing movie ‘come and see,’ as part of a film series appropriately entitled “bleak week.” (the juxtaposition with the theater + the puerto rican day parade raging 0.5 blocks over was truly sending me.)

ari aster came out to introduce the movie, and just say a few remarks on his thoughts about it. then out of nowhere, some dude stands up in the middle of this big-ass theater and shouts “hey ari, i have a question only you can answer!” obviously everyone else is like “stfu.” so then he goes “i’m 30, you’re 37; how can i get my career to a place like yours?” or some hackneyed shit. this was very clearly not a q&a. this was a well-known director presenting an important movie. ari aster basically just walked off.

the unbelievably heartbreaking film ends, and as i’m hurrying to try to get on the bathroom line (3 stalls for a huge theater; i’ll never understand), i hear a commotion. someone’s screaming “wow the irony of this being a holocaust movie, and everyone is oppressing a marginalized person!” lo and behold, it’s the aforementioned fool. then a physical fight apparently breaks out outside.

truly an example of not reading the fucking room. in any context, this main character, making-it-all-about-yourself behavior would be grating, but it was especially, wildly inappropriate here.

then again this is nyc + everyone’s looking for their big break 🥸

[darcyolsson]

was reminded of the costumes from the phineas and ferb live show today. to say i'm utterly obsessed would be an understatement i need to sit down with the person who thought this was a good idea so so so so so so so bad

[sleepycricket]

i find it reeeaally interesting how akito is so highly empathetic and compassionate, especially considering that he’s a “mean” character.

like this guy is nice to you if he wants you to like him, then he’s just an asshole. he never pulls punches, he never shuts his mouth. by all merits, he should be one of the most emotionally unintelligent people in the cast lineup.

but he’s not. every single event story, he knows what his teammates are thinking at all times, and he knows exactly what they need to hear. like

lyrics joined back-to-back: realizes an is babying kohane before either of them do and calls her on her shit, knowing she can handle his bluntness and resolve the issue herself.

period of nocturne: knows that toya’s father is being rough to him, and that it’s affecting toya (again, before he knows it himself). backs him up in hating his dad, but also respecting him. doesn’t push him on either front.

unsatisfied pale color: ena makes it kind of obvious she’s struggling, but akito is the one to go to her and challenge her giving up art, knowing that she’ll regret the decision. he even confronts their abusive father for him, telling him that he’s being shitty.

stray bad dog: he gets mad at arata when he insults him personally, yes, but he was ready to fight arata after he just insulted his teammates, especially kohane, who he insulted for being an amateur.

awakening beat: is the first person an calls to help her with kohane’s confidence issues. reassures kohane and lets her take things at her own pace to build her confidence.

ringing sounds at the summer festival: he’s just waaay more willing to humour his sister than he lets on.

same dreams, same colours: is acutely aware of toya’s sensitivities and insecurities surrounding his lack of experience. is very gentle with him the whole camping trip, including worrying about his fear of heights before he does himself.

the power of unity: has known arata for like 3 days total and can already clock that something’s going on with him. almost immediately offers a shoulder to lean on.

walk on and on: knows something’s up with toya without having to ask, and actively worries about him.

etc etc. akito knows what the hell is up with the people around him, and often what looks like rudeness is him confronting other people with their own emotions, and he usually won’t do that unless he knows it’ll help them (he often tells an exactly when she’s being a shithead, but won’t do the same to ena). he’s also noted on several occasions to be incredibly protective of the people he loves (see stray bad dog, and even summer festival when he goes across town cause he thinks ena is hurt).

it means to much to me to see such an unconventionally empathetic character, and how being kind is not equivalent to being nice.

[picnokinesis]

Thoughts on Different Types of Representation in Doctor Who (and how fandom responds to it)

So I watched Rogue last night and - okay first, oh my days, absolutely ADORED it, this is definitely my favourite episode of this season, it was just so much FUN and it hooked me right from the start. And then the queerness! I was actually thinking to myself whilst watching it how wonderful it was because it felt like a queer story in a way that wasn't like, showboating about how progressive it was? [editorial aside: this is not comparing it to anything in particular, just a general observation]. The characters were just queer, within this wild and wonderful sci-fi story, but also their queerness wasn't the Only Character Trait they had and their story didn't resolve around their queerness, but their queerness was crucial to the plot in a way that was just lovely to see - and as a writer myself, it's personally the way I love to see our stories being told.

But then I made the mistake of going into the tag - always a foolish thing to do, because for some reason everyone loves to praise this era by criticising the previous era (as if it hasn't been criticised enough...like we know most of y'all hate Chris Chibnall for committing no worse crimes than Moffat and RTD before him...we know). And I found a couple of folks talking about how this episode alone did more for queer representation than the entirety of thirteen's era, whiiiiich at first really Peeved Me Off - like didn't these people understand how important Yaz's arc (especially Eve of the Daleks) was to a LOT of people? But then I was like 'well actually this is interesting', right? Because I think there's two very different kinds of representation going on here - and they're both very important in different ways, but one tends to get lauded as brilliant rep and one always gets put down as not good enough, or even bad rep. And what's the main difference? Whether the characters have a gay kiss or not.

So I just thought I'd share some of my thoughts and feelings on this, and why I think both these kinds of rep are equally important! To be clear from the get-go though - this is definitely not me ragging on anyone who likes more about one than the other (in fact, I think everyone likes one more than the other). This is merely a personal essay about it and the frustrations that comes when people in general do lift one up over the other. I'm gonna put it under the cut though, because it might get a bit long!

So, back when Eve of the Daleks aired, I remember having a lot of conversations about the representation in that episode - in particular with a very good friend of mine, who is a lesbian. And we realised that when it came to rep, we both actually wanted pretty different things. I'm aroace and genderfluid, and so a lot of what I saw in how thirteen was written - especially in terms of her gender (or lack thereof), and also her apparent lack of attraction (at least, in how I read it) was just incredibly affirming to me. I've never EVER seen a character on screen that I could see myself in both in terms of sexuality and gender. Whereas my friend saw things quite differently - thirteen was a lesbian, and they wanted to see that kiss between these two characters, because for them too, it was so rare to see that, and, in their words, they wanted to have their cake and eat it too. And we both realised that the reason that queer representation can feel so intense and important is, simply, because there isn't enough of it. We're all desperately reaching for the same small portion - and none of it is ever going to please everyone, or resonate with everyone. The stakes are too high.

So then, when there wasn't this dramatic romantic ending to Yaz's story, when there was no queer kiss, I was very sad for my friend, who didn't get that representation, but so painfully relieved for myself - because I got mine. So then it sucked a lot to see a lot of people getting really angry that this wasn't queer representation, that this was even homophobic - I even had someone tell me that aromantic representation in this regard was always going to be homophobic, because no-one would ever write it to be aro rep, and would instead only ever write it to avoid writing a gay kiss. And the thing that got me the most was that, REGARDLESS of whether they kissed or not, regardless of how you read either of the characters, there was one thing that was certain:

Yaz was queer. In text. Her emotional plotline centred around her realising that she was attracted to the Doctor (who was presenting as a woman - although, again, I don't think she really identified as such). The fact that she and the Doctor didn't get together by the end does not erase that fact.

They didn't kiss - but so what? Are queer people only queer when they're kissing someone of the same gender, or having gay sex? Are queer people not queer in their day to day lives, when they're not doing any of those things? Are queer people not queer when they're not dating? Are queer people not queer when they're trans, when they're ace, when they're aro, when their queerness doesn't resolve around attraction to the same gender?

And, to be honest, I think a lot of my feelings around this stem from the sort of exclusionist rhetoric that we saw a LOT of towards the ace/aro community back in 2012 that we still see now, that we're seeing towards the trans community now, that we're still seeing towards bi people, for pete's sake. It's this in-community infighting, pushing each other down to try and get up to the top, to keep all the "resources" for "the people who really need it", and it causes a serious amount of harm - but the truth is (and to bring this back to doctor who) that it all comes back to what me and my friend were discussing. We're all scared, all desperate to be seen - and when we are seen, it's the most incredible experience and the idea of losing that (or having someone else undermine it) feels inexpressibly awful. Having the thirteenth doctor...I suddenly realised this is what all the straight cis white dudes get all the time. She was like me, and that was indescribable. And then losing her - and having RTD not even be able to have a man wear her clothes because he was too worried about what the tabloids would say to be able to show a gnc person on tv...and then constantly described her as The Woman Doctor for the next entire episode - that hurt. A lot.

I've spoken to other friends who felt so seen in the character of Yaz - those people who realised they were queer later in life, those who fall in love with people and it doesn't end up going anywhere, those who don't get the whirlwind queer romances that people often call 'good representation'. Myself and many of my aspec friends have felt so seen in thirteen's almost entirely romance-less arc, and myself and my trans/genderqueer friends felt very seen in the way that thirteen's character would have been exactly the same if she'd been a man - the only difference was how the other characters around her interacted with her. Gender was something that happened to her. And when I watch episodes like Rogue, even though I don't relate to that representation, I just feel overwhelmed with joy because I know how important it will be to others that I care about. I think my sadness then comes from the fact that the way Thirteen and Yaz were written are just as important to me and many people that I know, but because they didn't kiss, it's not considered queer enough. Am I not queer enough, then? Are my friends not queer enough?

We need more episodes like Rogue, like The Parting of Ways, like Praxeus, like The Doctor Falls, because they are unquestionably and unapologetically queer, in a way that can't be avoided. We also need more episodes like Eve of the Daleks, like The Haunting of the Villa Diodati, like the rest of thirteen's era where the representation is an undercurrent throughout the whole story - but also undeniable, in a way that Yaz's story arc is, even if it doesn't end in a kiss, even if it doesn't end neatly and happily. Personally, I definitely would love to see more stories focused on aromanticism and on transness (especially ones that are written by trans people for trans people, rather than by cis people for cis people), but that's probably going to be down to people like me and other writers that I know actually getting into the script writing industry - and that depends on the people who are already there letting us in. One thing that I've always appreciated about Chibnall is that, after leaving Doctor Who, he began a programme for training up new showrunners with ITV, because: "showrunners are the gatekeepers and too many of the gatekeepers look like me."

Anyway, I probably have more thoughts that I've forgotten, but that's generally the gist of it. I think the more we fight over whether rep is 'good' or 'bad', relating to whether we see ourselves in it or not (rather than 'is this genuinely harmful or unhelpful', which I think is a more crucial question) the more the waters get muddied. We have different needs and wants, and no single episode is going to represent every facet of our community. But each episode, each story like this is a step in the right direction - and even rep that isn't perfect (I have thoughts about The Star Beast, for example) is still extremely positive and important, and definitely something that should be celebrated, even as we keep looking to the future for what we would like to see done differently, done better. And some day, I hope, there'll be so much queer rep, it'll be so normal, that those stakes won't feel so high anymore. It won't feel like everything hangs on how a certain show or storyline or episode is written. We'll all be seen. And that will be absolutely fantastic.

[galactic-rhea]

It's ranting hours sunday for me: Y' know, I think when people complain soooo much about Padmé getting with Anakin, they're failing to see a lot of things. BUT ESPECIALLY...That it was her choice, and if speaks a lot of her character and personality.

She was already done dirty by the movies by getting so many deleted scenes, but then if you try to take away the agency she had on marrying a human disaster or her choices, like her forgiveness/understanding, it's actually undermining and flattening her character.

The fact is that she's actually very similar to Anakin, she's stubborn, deeply traumatized, compromises a lot for the sake of others and loves beyond reasoning. We, the audience, know that Anakin will become Darth Vader and one of the most iconic villains of history; so everything he does can be seem as a red flag that really isn't there.

From Padmé's POV, Anakin has done terrible things, but it's capable of incredible acts of love and compassion. They're in circumstances that aren't normal at all, she was queen at 14, and he was born a slave and joined the space wizard monks and his normal is kill or be killed. Our modern and omniscient POV can't be applied onto them because there's no point of comparison in this sci-fi-shakespearen tragedy-soap-opera-fantasy.

Besides...she was actually right in the end, and I don't believe is "feminist" or progressive to take away a big part of her core personality, that actually had repercussions in the whole story, and make her out to be either unaware and naive of marrying a monster, or (the worst one, imo) being jedi-mind-tricked-brainwashed-abused by her husband.

The "right, correct, girlboss and queen" actitude does more damage than help, leave Padmé to be a person. A person who wanted to have a fairytale romance with some guy who would fight for her and makes her laugh.

Also, the hell why you wanna blame her for something Anakin does, come on. That's a whole other can of worms, though. My point is, that trying to avoid or re-work-or re-contextualize the fact that she chose Anakin despite him literally telling her about murdering a whole village, is actually changing a big chunk of her personality traits.

She was a child queen, then a politician at the edge of an inminent war, manipulated by the same guy that groomed Anakin into a massive murderer, saw her people being taken into camps, had assasination attempts weekly and had to rip off of her individualism by becoming a public figure, giving up her sense of being a person by having several almost identical decoys, she had to stop being just Padmé to be Queen and then Senator Amidala and she did all of that showing little to no emotion.

Then Anakin does all what she herself had to rip off of her in order to be a politician: Honest, passionate, and able to show emotions; like love or anger.

She has morals and she represents democracy and justice, in a way. But I fully believe that inside her she had the same passionate anger and love capable of burning the galaxy that we know Anakin had, which makes them different sides of the same coin, and I think she realized that. Anakin perhaps didn't , as he never stopped of seeing himself as a slave and therefore inferior, whereas he held Padmé very highly, but I think Padmé saw them both as equals. She didn't have a "I can fix him" mentality, she had a "We're the same, we're both lonely, confused, hurting and scared of losing everything. And if he's like me, then I know he can do the right thing for love."

In other words: She was as insane as her husband, she only seems normal because she wasn't put into the monk warrior order and groomed by the devil for over a decade.

[tossawary]

I still think that the ending of "Avatar: The Last Airbender" was poorly foreshadowed, specifically the lion turtles and the energy-bending. (Not Aang not killing Ozai! I like that part! It suits the themes, it suits the characters! That part is fine. I am glad that the last airbender found a way forward that respected his people and beliefs.)

Like, I saw ATLA when it was originally airing and I thought these things kind of "came out of nowhere" at the time. I have heard the arguments to the contrary over the years and I have never really been persuaded by them, while at the same time personally agreeing that the lion turtles and the energy-bending absolutely do fit the world and lore! They are fitting elements! They work! I like this ending at the same time that, in my personal opinion, I think it was poorly established.

I think that the story BEGINS to establish lion turtles and energy-bending well enough. We meet both many other spirit beings and bending-capable animals earlier on, including the Moon and Ocean Spirits who apparently gave the world water-bending. S2 introduces Ty Lee's chi-blocking techniques and Guru Pathik teaching Aang about chakras. There are also a handful of lion turtle easter eggs in the background of some episodes, the most prominent perhaps being on a scroll in Wan Shi Tong's library.

But the story then jumps from these various establishing elements all the way to "lion turtles are real and not extinct and telepathic and can also energy-bend and Aang has suddenly mastered this new art well enough to take someone else's bending away permanently, and these relatively new elements are going to resolve the main conflict of the show". It feels like "1+1=3" to me. I think that last jump in the story is too big. Like, we're REALLY close, but I personally needed another 1 in there somewhere to bridge that final gap and get to that 3.

(Includes some fic ideas / suggestions on how to maybe add to strengthen the foreshadowing under the cut.)

The fact that a lot of people, especially more casual viewers, were really confused by the way all of these elements suddenly came together at the end says to me that, no, the foreshadowing that WAS done (there WAS foreshadowing, I cannot rightfully say that it all came completely out of "nowhere", but it) was not good enough. Or maybe I should compare it to someone presenting me with all of the necessary ingredients for a cake and then telling me that it IS cake? Yes, all of the right ingredients are HERE, I agree, this COULD be a really great cake, but... you still have to mix it all together in a bowl and then put it in the oven to bake to get that specific cake. It's not quite cooked yet.

(Okay, wow, that sounds kind of mean. Maybe I should compare it more to a missing stair? We have MOST of the staircase, I just need one last step to get to the Deus Ex Machina at the top. To be clear: I don't think a "Deus Ex Machina" is inherently bad. I often like them a lot. I just wanted a little more foreshadowing than the stuff that is already there.)

In storytelling, there's this technique casually called "The Rule of Three". (And yes, of course, rules were made to be bent or broken depending on what story you're trying to tell, but usually, these rules exist because they are effective.) This rule is also sometimes known as "Introduction, Pattern, and Payoff". (It has other names, but that's how I remember it.)

Very loosely, this rule states that an important element of the story must appear at least three times. 1. It must be introduced / established in the world. 2. It must appear again to remind the audience that it exists / and establish a pattern such that the audience begins to expect it to appear again later. (And is hopefully excited for it.) 3. Payoff. The element returns in an important way, probably to resolve part of the plot. The previous two appearances have acted as foreshadowing for this ending.

There's also a "Rule of Two" version of this general storytelling technique. Like, "If this special crystal can zap the bad guy and save the day, we have to have shown or at least told the audience that it can do that BEFORE the big final fight scene."

In regards to ATLA, no, I don't think that a scroll in a library or a statue in the background of some scene served as adequate introduction and reminder for the existence of lion turtles, so it didn't necessarily feel like a payoff for me that they solved the main conflict. (It's the "solved the main conflict" that's most of the issue for me. If the lion turtles had just appeared in another episode as a random cool thing like those sea monsters by Kyoshi Island, I would not have cared.)

I actually think that the establishment of other spirits like the Moon Spirit and bending-capable animals like sky bison and dragons can serve as a decent enough "Step 1) Introduction". Though this does not establish that lion turtles specifically exist, we have established that powerful creatures similar to lion turtles exist. But I still needed a solid "Step 2) Pattern / Reminder" that would have established that lion turtles specifically exist and are important BEFORE one shows up at the end like that.

I think that there's at least one episode somewhere in Book 1 or Book 2 that could have been cut in favor of an episode where the Gaang meets and rescues a young lion turtle baby or something.

Maybe Guru Pathik could have learned his ways FROM a lion turtle? Aang could have gone to an isolated village somewhere (with more brown people besides just Guru Pathik?) where people are living in harmony with a lion turtle, or maybe even on the back of a lion turtle! That would be cool!

Concept: Aang encounters Guru Pathik living alone on the back of a lion turtle which doesn't talk to people anymore (Aang swims down to look at its face and it doesn't even look at him), because its kind have been hunted nearly to extinction and it's tired of violence. Guru Pathik learned his ways from his old teacher, who learned from his old teacher, all the way up the teaching lineage from a person who once learned from the lion turtle itself before it gave up on the world. Guru Pathik tends to this nearly empty temple on the back of a silent lion turtle who ignores him, because he will not forsake his teachings even when the world seems uninterested in hearing them and the old lion turtle seems like it could die any day now. The people in the fishing village on the shore think that Guru Pathik is crazy and most of them don't even believe that the floating island really is a lion turtle, it's just weird geography.

Guru Pathik could also have chi-blocking abilities! We could see him demonstrate them in self-defense! He could teach a few chi-blocking moves to Aang, who could later go on to use them occasionally in Book 3, and it would have been really cool to see Aang exploring non-bending skills. We don't need Guru Pathik to explicitly name energy-bending here, but I would like to connect him just a touch more strongly to chi-blocking. Like, he IS connected already by helping Aang clear chakras, which is kind of like a reverse of chi-blocking, but it would be nice to establish Guru Pathik as somewhat capable of the opposite but perhaps not liking to use the skill.

Aang really vibes with this dying culture of pacifists, but he still has to leave Guru Pathik before he can finish the training. Later on, he can encounter Guru Pathik and the silent lion turtle again, and he can confess to them how desperately he doesn't want to have to kill anyone, no matter what his past lives say. He just wants to STOP the violence and restore balance to the world without sacrificing himself. And THEN the lion turtle could wake up and gift him with energy-bending.

Or something like that! The foreshadowing doesn't have to be THAT heavy-handed, but SOME brief appearance by an actual lion turtle would have served as a better "Step 2) Pattern" to me.

Things like chi-blocking, chakras, water-bending healing, water-benders losing their bending when the Moon Spirit was killed, and even Zuko's spiritual turmoil serve as a good "Step 1) Introduction" to the concept of energy-bending to me. The ingredients are THERE. But again, I would have liked some clearer "Step 2) Pattern" that had actually baked the cake in regards to this being a skill Aang had specifically.

The above episode concept with Guru Pathik on the back of a lion turtle could have worked as a "Step 2) Pattern / Reminder" for energy-bending.

ANOTHER option would be to have Aang temporarily lose his bending at the beginning of Book 3, after Katara resurrects him with that special spirit water after Azula killed him at the end of Book 2.

I think Aang losing his bending for at least 3-4 episodes would have been really good for him / the show. So much of Aang's identity is tied up at this point in being the Avatar and the responsibilities of being the Avatar. Losing his bending, especially his AIR-BENDING, and his connection to the spirit world and his past lives would send him into a personal crisis. The Gaang could worry over whether or not a new Avatar has somehow been born or if the Avatar powers are gone forever. The characters could confront the fact that perhaps they've been relying too much on Aang as the Avatar and what they'll do now without the Avatar.

Also, it would be really funny if Aang woke up and picked up his glider to jump off that boat, then just fell into the ocean, and Katara needed to fish him out. (Which would then transition into the dramatic revelation that he has lost his bending!!!)

Katara could use her healing abilities to tell Aang that what's happened to him feels a lot like Ty Lee's chi-blocking. Katara would then probably try to emphasize with Aang, who gets angry with her and says she has no idea what this feels like! Katara could then have a really good intimate scene with Aang over how scary it was when the Moon Spirit was killed, what it physically felt like to lose that spiritual connection, and how scared she was even afterwards about what it would have been like to permanently lose that connection to her people and her culture. Aang then apologizes to Katara and they resolve to find his bending again.

Aang then goes on some spiritual journey with his friends to reconnect with his bending and his past lives as the Avatar. Probably some partially internal spiritual journey with Guru Pathik's teachings. Katara and Toph could both talk about what bending means to them personally as different people, and also what it feels like to them as they interact with the elements of the world around them.

Aang could have some cool fight scenes where he dodges some random thugs using all of his bending skills (martial arts) without the actual bending, air-bending techniques, water-bending techniques, and earth-bending techniques, and then finally some chi-blocking techniques that Guru Pathik showed him. There could be some scene where Aang saves a kid from these random thugs and realizes that he can still do good in the world even if he's not the Avatar! Even if he's not a bender anymore!

There could also be some REALLY funny scenes of Aang trying to get Appa and Momo to teach him how to reconnect with his air-bending. Aang mimicking their movements and so on. (Sokka: "Is that... working so far, buddy?" Aang: "NO! They're terrible teachers!!!" Cue sad Appa bleating and offended Momo chittering.)

You could even do it in a cycle of sorts, where Aang reconnects with his air-bending first using Guru Pathik's teachings and his friends' help. (He is OVERJOYED.) And then Aang slowly regains water-bending and earth-bending over the next few episodes, culminating in him having to face his fears learning fire-bending again. I think you could accomplish this storyline by squeezing it into about 3-4 episodes, or else starting off with losing then regaining air-bending plus the Avatar state in the first 2 episodes of the season and then threading relearning the other elements in the background through later episodes.

ANOTHER option where Aang temporarily loses his bending is after the eclipse, because he has a spiritual crisis over the fact that he was resolved to kill someone and he really doesn't want to do that. I don't like this option so much because it feels a little too late in the season compared to kicking off Book 3 with the drama of Aang losing his bending(!!!), but it's an option.

See, if Aang temporarily loses his bending and has to find it again somehow, then the show could establish what this kind "energy-bending" and spiritual manipulation within a person looks like. If Aang has had to get his bending BACK, then it would better establish Aang then using this ability he has now practiced on himself to take bending away from another person. It's a pleasantly surprising twist that Aang figures out how to reverse a previously established energy-bending technique and successfully uses it against Ozai.

And then the ending, though arguably still in the realm of a Deus Ex Machina (which is cool), would feel more like "Step 3) Payoff" instead of "What just happened?"

Anyway! This post became way longer than originally intended! I hope this has made it clear that I like both the lion turtles and energy-bending as concepts. I think there are many elements in the show that begin to introduce lion turtles and energy-bending as Aang uses it as things that COULD exist. I just think that the show needed some kind of additional baking step in the middle to establish a pattern and use those ingredients to foreshadow that specific "an ancient lion turtle teaches Aang energy-bending" ending.

[dalekofchaos]

Not interested in LIS:Double Exposure

Okay I saw the Double Exposure trailer and I am not playing it.

Multiple reasons.

The Deck Nine IGN article. I will not support a developer that knowingly protected a bigoted groomer and allowed a Nazi to sneak in White Supremacist signs in the game.

Max learned nothing about the first game. Nevermind there is no Chloe, Warren or anyone from Arcadia insight(we'll get to that) Max apparently formed another codependent relationship that she couldn't let go to the point where she's fucking up reality by creating yet another parallel world. Either Deck Nine is entirely unoriginal or Max didn't learn a damned thing

That is not Max. If your defense is "she grew up" I got news for you. I've looked the same for nearly a decade. I've had friends while changing their aesthetic, they look the same. you don’t look like an entirely new person when you age, the new model looks nothing like max there’s barely even resemblance. Also I know, we all change our style as we get older, but Max's style was unique and it made Max Caulfield who she is. It didn't need to change. Deck Nine just Stephified Max. Was it really that hard to give Max bangs? Not just that. No freckles, eyes and eyebrows look completely different. This is not Max Caulfield.

4. No one from Arcadia Bay returned. It's pretty obvious Deck Nine is either keeping Chloe's fate a secret, but it's also clear they are trying to skirt around the issue of the endings without pissing everyone off. Feels like a copout to whatever ending you chose to give a new cast of characters. For the fans who wanted more time to play as Max and Chloe, I feel bad for you, I especially wanted to see Chloe again. So what the fuck was this supposed to be for then?

Though another point; why the hell are we supposed to be okay with the fact that Max is using her power again to save this brand new character we have zero previous connection to? Especially if the game’s gonna try to straddle both endings to LiS 1; seems very insulting to have Max be okay with doing it for a character we have no previous attachment to, but she’s left her girlfriend to die alone, thinking nobody loved her?

Also you had the perfect chance to make a fucking game that has Max save Rachel. I know I just did a tangent about Max not learning anything, but if you were just going to have Max use her powers again, why the fuck didn't you do it to save Rachel from a fate she never deserved? Godfucking forbid you give attention to Warren, Kate or Victoria. I just wanted to see these characters get some screen time, make cameos or give us SOME hint to what they are up to after the events of the first game. But no, we can't have that. We can't be given anything of substance for Warren, Kate or Victoria. Can't learn anything about their fates in the LIS 2 Save Arcadia Bay ending, can't find out Warren or Kate survived the storm in Wavelengths via talking to Steph during the storm anniversary and we can't see them again in DE. I know it's just a teaser, but seriously why even do a new Max game if we don't even get cameos from these characters? Knowing how Deck Nine is, they are just gonna find a way to demonize Warren to paint him like Eliot, regress Victoria's character and not even give Kate the time of day to mention. Jesus fucking christ, I just wanted to see Max and Warren Go Ape, fun Max and Victoria photodates and to see Max and Kate have one fucking Tea date. IS THAT TOO MUCH TO ASK FOR???

5. Deck Nine are literally just swiping DontNod’s characters for the purposes of chasing that brand recognition. It's just copy pasting lighting in a bottle and milking a cow out of this franchise. BTS was remotely successful because of Chloe and Rachel's relationship. True Colors is fun at first, but realize it's just a hollow imitation of the first game. DONTNOD's story was original, fun and unique. I had problems with it but it was still THEIR story on their terms and not developed from a place of corporate cynicism asking for preorders ASAP that come bundled with a box of tissues and bobbleheads of dead teenagers. Read recent interviews from DONTNOD and you can TELL they got burned by SquareEnix over this. I hope they can channel that into something with Bloom and Rage because I’d love to see them recapture that magic again.

I had fears of what would happen if Deck Nine ever got their hands on Max. And looks like I was right to be worried.

To be clear, I think making stories with someone else’s character is great and cool and it’s literally what fanfiction is and technically, MUCH of mass media now IS “fanfiction”. The difference here is DONTNOD deliberately wanted LIS 1 canon left alone, near as I can tell. But no, Square Enix wanted a franchise and Deck Nine was more than happy to milk the cow for all it was worth and Deck Nine has shown they don't understand DONTNOD's characters

The game looks like it's repeating everything about the first game, but none of the charm that made it great. It's beat for beat the same fucking game. Dead friend, murder mystery, but without the ambiance, charm or magic that made the first game good. Deck Nine is completely unoriginal, DE is a soulless cashgrab and their hyperrealism killed the entire essence of the game and its characters.

It's quite literally a copy and paste of True Colors, but with Max.

And when we just look at this. Double Exposure is just soulless. It's style over substance and I knew. I just KNEW that if Deck Nine got their hands on Max it would be half-assed and soulless shit like this. They dared to slap Max's name on a Steph lookalike and then just do True Colors again, but more hollow.

There's something just so disappointing about the change in art style over the years. The art direction in the first game was charming and now it just feels kinda soulless. The awkward chunkyness of the models really made it stand out but now it feels way too smooth

life is strange going from one studios passion project to another’s cashgrab is one of the biggest modern tragedies in the world deck nine they could never make me like you. All the charm of the franchise from the cartoonish artstyle to the episodical releases has been completely stripped away it’s just very disappointing to see.

This meme is literally Double Exposure.