#have her realize that she doesn't HAVE the skills she needs to succeed or progress and work to learn them!

[asteria-argo]

if y'all catch me totally changing Keeley's entire plot in TATBP with no elaboration mind your own business.

[pjsk-story-summaries]

BURN MY SOUL Event Story Summary

TL;DR: Following the fallout of the battle with Taiga, Vivid Street has lost it's fire. In order to relight it, Ken has decided to take Vivid BAD SQUAD to high-level events outside of the town to build skill while assigning each member and individual task. Akito's was to "relight the fire of the town" with his determination and singing.

Ken begins individual singing training with Akito. He believes the thing holding Akito back is the lack of heart he's putting into his voice. However, Akito can't figure out what that ultimately means, never mind putting it into music. They continue to practice, with little progress.

Ken decides to take Akito out on a drive to relax. They reminisce on their first meeting and how far Akito's come since then. He's met so many people since then, too. Ken asks Akito to never forget "that feeling" when he smiles over the memory.

The next day, Akito decides to ask the Virtual Singers what he meant. Luka challenges him to a battle with the ultimate goal of drawing out his feelings. MEIKO realizes Akito's greatest strength is also his greatest flaw. In order to keep moving forward, his determination has led him to bottle up his emotion. All Akito needs to do is let it out. Akito realizes the same soon after, but before he can sing again, Luka stops him. She wants him to show Ken, not her.

Akito manages to properly sing from his heart during his next session. He takes all the emotions from his hero's song, the pain and love, and proves the fire Ken had lit in him will burn strong enough to surpass him.

Some time later, Akito performs solo on Vivid Street. He declares that Vivid BAD SQUAD's next event will be the one to surpass RAD WEEKEND. The intense improvement in his voice ultimately rekindles the fire of Vivid Street and motivates Mita to re-join the team.

Fan translation (lozy bug) / Song (CR詠ZY) 2DMV

Chapter 1: Mita walks the alleys of Vivid street in a depressive funk. He, nor any of the other former allies of Vivid BAD SQUAD, have performed since that fight with Taiga. WEEKEND GARAGE has been mysteriously closed, too. Rumor has it that Vivid BAD SQUAD has disbanded; however, neither Mita nor the Crawl Green owner believe that can be true. The owner does suspect, though, that they've given up on RAD WEEKEND. Without their fire, Vivid Street as a whole has been emptier. Mita doesn't think he has any right to try and re-light it.

Akito sets up a mic down the street.

Chapter 2: The events immediately following On Your Feet are shown. Ken asks what an event that surpasses RAD WEEKEND needs. Now knowing the true feelings behind the event, they've realized it's more than sheer strength. In order to reawaken the passion of the town, Ken decides to take Vivid BAD SQUAD to high-level events outside Vivid Street for practice on top of giving them individual assignments.

Akito's role is to "light a fire in the audience". His determination to crawl up from the most hopeless of situations make him the perfect fit for this role. It has to be just Akito; they should save their group performance for the real thing.

Chapter 3: Some time passes forward. Vivid BAD SQUAD continues to compete in high-caliber events outside Vivid Street. Though they still have a long way to go, they manage to succeed still. After a particularly tough event, An and Kohane decide to take a nap while they wait for Ken and the car. Akito convinces Toya to rest, too.

Ken arrives soon after, so they chat. Ken believes Akito's current drive to get better and better is the thing holding him back most. He wants him to loosen up. Akito's not sure how, so Ken offers to do individual lessons with him. Akito accepts immediately.

Chapter 4: Everyone arrives back at WEEKEND GARAGE. Kohane, An, and Toya chat about their own struggles with their (currently unkown) assignments. An's not surprised about Akito and Ken's sessions- she's noticed her dad signing more recently.

Ken and Akito begin their first session. Akito and Ken will take turns singing at each other to learn. Akito does well, but still has too much tension. Ken's song is powerful yet calm, something Akito believes is evidence of countless years of practice. Akito tries again.

Ken cuts practice off when Akito starts struggling to breathe. Though he keeps trying, he still doesn't understand how to loosen up, nor the difference between what it means to sing with feelings versus from the heart.

Chapter 5: Ken ends another practice by asking Akito to go out on a drive with him. They stop in an alley for a drink. Akito wonders if he really can afford to relax like this with so much work to do.

Ken reminisces on their first meeting. He had found Akito trying not to cry on a street corner after a rough event. Akito has always been the type to keep climbing through the mud no matter what. Through that journey, he's meet Toya, the Vivids, Mita, Arata, EVER, and so many more. This makes Akito smile softly. Ken flicks Akito's head and tells him to never forget "that feeling": Akito's already found everything he needs; he just needs to realize it.

The next day, Akito heads over to SEKAI to talk. Luka asks about the live houses they've been going to. Akito decides to ask for advice over what Ken wants him to do. Luka has him sing. Though MEIKO and Len think he's gotten a lot better, Luka thinks there's feelings he's not putting into his songs. She decides to do a singing relay with him to show what she means.

Chapter 6: Luka ends up turning it into a battle with Len and MEIKO as judges. Luka goes first with the song she'd sang when they all went camping together. She went with the song Akito had sung when he went up against shepherd next. Luka challenges Akito to return with everything he's feeling now.

MEIKO realized her songs were chosen to loosen up his feelings. Though Akito's strength is his determination, it comes at the cost of bottling up everything else in the name of moving forwards. It likely hadn't worked with Ken because of how much Akito idolizes him.

Akito finally realizes what everyone's been trying to tell him. However, before he can let it out, Luka stops him. She wants Akito to go throw it all out to Ken.

Chapter 7: Akito and Ken start their next practice. Ken goes first this time. Akito takes in all the feelings from the song to light his own fire, the one initially lit by Ken. Then, Akito throws it all back in his own song. Ken follows with a song from RAD WEEKEND. Though it makes Akito tremble at first, Akito takes all the pain of loss and happiness of partnership and puts it into his own voice. He wants Ken to see the fire he'd lit burn bright enough to surpass him. Ken praises him.

A few weeks later, Vivid BAD SQUAD begins their comeback. They send out Akito for his solo performance.

Chapter 8: The story jumps back to the present day. Akito notices Mita in the crowd before addressing the rumors over Vivid BAD SQUAD's disappearance. He reaffirms their intention to surpass RAD WEEKEND and sings. Everyone is shocked to hear the intense change in Akito's voice.

Mita reflects on Akito. Back when he'd started, he was laughed off as nobody special. However, through all his hard work, everyone grew to appreciate his voice. Mita believes he doesn't have the guts to be like that. Still, listening to Akito's song, he doesn't want to give up just yet.

At the end of his performance, Akito declares Vivid BAD SQUAD's next event will be the one to surpass RAD WEEKEND. They will show this street a new legend. He asks Vivid Street to follow them there.

Though Mita wants to, he doesn't want to drag them down with his lack of resolve. The owner of Crawl Green asks if that's really what he wants to be. Mita decides to chase down Akito and beg to sing with them again. Akito asks if he has the guts to see this all the way though. Mita decides he'll never run away again. Akito smiles and accepts him back.

Back at WEEKEND GARAGE, the rest of Vivid BAD SQUAD formally accept Mita back to the team. Ken has them peek outside, where, after Akito's performance, people begin to genuinely believe they might be able to pull this event off. Now, the real battle begins.

[anewnewcrest]

What mods do you use for this save, if you don’t mind me asking? I’m assuming MCCC to override the household member limit, but anything else?

And how much autonomy do you allow these nincompoops? For example: did David Johnson autonomously start flirting with Henrietta, or did you script that? I’d be very impressed if you have entire storylines written out in advance, but managing to turn sim AI into a coherent plot also takes mad skills.

Just for my own amusement: do you have a favorite family/sim atm?

Thank you for asking, please feel free to ignore my incoming ramble, I am constitutionally incapable of keeping things short (but you read the blog, so you probably already know that).

I use MCCC to override the household limit and increase the limit of sims allowed on a lot up the wazoo so I can get everyone assembled at church or the Johnsons' house. I also double the bills and half skill gains and career performance gains (and in some cases just stop career progression entirely if it doesn't suit the story), because the game makes it too easy to accumulate wealth, and them all being rich and not struggling with finances would really take the fun out of the Fundies (and really, with their education, they're not supposed to get promoted anyway).

For the religion content, I use Rambunctious Religions.

For screenshot purposes, I also have pose player and teleport any Sim (obviously), in addition to that Control Any Sim (invaluable if you have people from other households who just won't do what you want them to), Less Musical Chairs and No Stand Up to Greet from LittleMsSam, and a few mods that remove effects such as food sparkles and floor sparkles and sparkles around heads and other cosmetic things similar to that, as well as a few to turn off fade on trees and columns.

As for things peculiar to Fundie gameplay, with as often as everyone is pregnant, LittleMsSam's Pregnancy Overhaul is also a must, because if those ladies can't exercise during their pregnancies, they'll never exercise. I also got the Unlimited Jobs mod from Turbodriver because if you've got eleventy kids, one job really doesn't cut it, and you need a side job for your side job. Also a mod for them to keep their instruments in their inventory because these kids are always practicing the violin and keeping their instruments in any semblance of order is a chore. And Adults can Cry which is obviously critical for them to express their misery with their choices.

There's also a lot of modest clothing CC (even though I try to keep it rather minimal - I rarely succeed). And I recently installed Healthcare Redux to spice up the whole thing a bit, because I was getting a bit bored with gameplay lately.

As for how much autonomy they have... very little, I'm afraid! I'm a bit (more than a bit) of a control freak, and I have a large SPREADSHEET where everything is accounted for. I usually have a Sims' general life direction planned out before they're even born (so I can start giving them the personality they need for their plot starting as young as toddlers, and also so I can start dropping story hints), though sometimes they do surprise me (Chelsea leaving was not planned that way, she was set to get married and have a lot of Fundie kids, but then she rebelled so hard and I liked her so much that I just couldn't do that to her, and Sharon Graham was supposed to be a Fundie lawyer lady in a politically influential Fundie power couple... but then I couldn't do that to her parents).

Stories shift around as they develop and I get to know them (honestly, I thought Baker and Lily would be a boring standard-issue Fundie couple together and then I wrote them and I realized all the issues they have from the way they grew up and I couldn't just not add that to their relationship dynamic!) and see how much I like them or not, and whether I'm having fun with them, whether they get along, or if it would be weird for them to end up together, and I also have a long, long list of ideas to draw from if I totally draw a blank with a kid (which does happen). As for Henrietta, she was made for having an affair with David, quite literally, the poor woman.

As for my current favorites... I really like Mark and Kathryn Graham a lot, because they're some of the very few decent folks I currently have in the game, and Mark's just living his best life right now. And on the other end of the spectrum, I'm absolutely, ridiculously excited about Priscilla Sawyer (née Johnson) starting her arc, because while she's not a good person, she will be so much fun, and rebelling hardcore against the Fundie wife mold. Max Sr. and Jr. have no idea what's going to hit them.

[littleeyesofpallas]

I think in my hurry to get through the one core rant without getting distracted, I didn't actually outline the Hero's Journey's whole proposed psych model in the first place. I don't want to get too into each of the 17 steps, but the idea of the process it reflects is this:

A boy on the cusp of adulthood must leave the comfort of parental protection/provision, whether he wants to or not. He must seek out the "magic" of an older mentor who has seen and mastered the unknown, and through that mentor they learn an entry level skill that will allow them to navigate the world of adults; but this is not "mastery" and it is not "understanding" it is only the bare bones functionality of mimicry. Understanding comes later. This happens, often, while still in the comfort of the "home" realm, where the dangers of the unknown aren't in play yet. Then they leave for real and confront the shock of an unfamiliar world, of autonomy, and responsibility; for the first time in their life, if something goes wrong, no one is there to help them.

Campbell himself posits this next step can go a few different ways. His standard format suggests the Belly of the Whale, the descent into the darkness of not knowing happens at the threshold itself, comes first. That upon confronting the unfamiliar new reality of adulthood the immediate reaction is to be overwhelmed, and only after addressing that immense pressure and aimlessness does the boy get to proceed out into the world at large with the understanding that out here, he can actually die.

But the alternative to this is that the boy goes from the crossing of the threshold directly into the Road of Trials, putting at his his magic aide's skills to use, and learning new ones, until that momentum of that growth and learning plateaus, and then THAT is the moment in which the hero is consumed unto the Belly of the Whale, not when he first confronts a reality that is beyond him, but when he first realizes that it's beyond him; when the arrogance and ignorance of youth gives way to humility. Here he has been facing danger and challenge but only now does he confront the inevitability of death; he cannot keep conquering the unknown forever.

I prefer the Belly-second format, because unlike the Belly-first form's processing of the idea that he can die, this is the fact that he will die; and then what legacy does he leave behind? And this directly motivates his shifting attention toward...

The Goddess Reconciliation is my problematic fav of this whole thing... Campbell and Jung believed deeply in this old fashioned notion of Anima and Animus, that there was some nearly mystical bioessentiallist quality of explicitly segregated Male and Female psyche, and a lot of that doesn't scan great these days. BUT! Of note is that their fixation on this duality came largely out of the idea that the two, being innately separate and at odds, needed to be balanced for a healthy mind to exist. In the psychospiritual spiritual approach to myth this means the Goddess is in fact a man's inner feminine aspect that need to be appeased and made peace with. And that's actually pretty cool, weird inner-cosmological premise to that aside.

But in regards to the myth as guidance, this is also the step in the journey that I just call Respect Women. Because that's what's being taught. This is the moment that the young boy/young man, until recently high on his own power and accomplishments, and his ongoing conquest of the unknown is confronted by a woman of great power. She resides in a realm above him, and for the first time in his quest he cannot conquer his way through this. He MUST speak with, negotiate, and empathize with this woman and her needs in order to win her favor and approval, and sometimes very literally hand in marriage.

This power she holds over him is often pretty literally the ability to have children, tying back into the newfound need to secure legacy that I mentioned in Belly of the Whale. But it can also be inheritance of fortune, positions of power and rulership, etc... in the realms of mythological and fairytale narratives. But it also reflects the internal idea of the joining of Anima and Animus, in that this marriage in one way or another, material or not, must bring him peace of mind.

Then there's the Woman as Temptress phase, which is woefully underused. Granted it can come across as a bit sexist and cliche in many narratives, and it's easy to see how that doesn't feel "essential" to most Hero Journeys, but I think this is incredibly important. Again, I prefer the Belly-second model in which the hero's conquests naturally lead to arrogance (he's on a winning streak, and he is still just a kid doing all this for the first time; he's never known defeat, so how does he even know when to slow his roll?) and this is a repeat of that; he's learned to please one woman, why not use his tried and true method of learning new skills and putting them to use to please more women? And so his loyalty to his Goddess must be tested in order to teach him moving forward.

This is the trope about Prince Charming being a playboy because his only trait is seducing women, not being good to them --see: Utena's Touga, or Into The Wood's Prince brothers. This is where a man learns not to be a fuckboi.

And then the confrontation with The Father. The legendary big Vader moment. But it's not always a violent confrontation, and it's not always innately negative; at times it can even be a somber affair. A boy must learn to stop idolizing his father, and make peace with the truth that his father is just a man, full of flaws like any other. And by reconciling his father as infallible patriarch and the hero's own process of growth, a boy must learn that to succeed in life he must be more than his father is/was. And this tends to become a violent or literal physical conflict when the father in question is both still alive, and the very literal authority that must be overcome in the name of progress. The patriarch has established a system of order that he sees as preserving the safety and security of the world of the known, and he will protect that system even as it begins to fall apart. And as a man, not longer a boy, but a peer to his father the hero has to show the father that he is no longer the unquestioned arbiter and effectively take his place.

In this the boy becomes man, hero attains some kind of enlightenment, sees some deep truth to the world and now knows with some clarity what is best for the world. An arrogant assertion to be sure, but internal to the journey at hand it makes enough sense... Because with this understanding the Hero also discovers or distills the mysteries of this wild realm of the unknown into The Ultimate Boon: a tool or a symbol of the skills learned, that can be replicated or utilized even without the hero's personal level of understanding. And this thing must be delivered back to the mundane so that the next generation of children can use it to expand their realm of the known further into what had before been unknown; each subsequent generation of hero expanding the collective knowledge and understanding of the community as a whole.

And Hero must also often learn selflessness. This kind of comes into play more often when there isn't the innate establishment of a desire to foster a legacy that will out last him. In this case the Hero needs to be talked into going home, because the alternative is that he continues to dwell in this state of perfection. But if he lives out his life like this, he will die as just a singular man rather than the Hero of a people. This in turn motivate the Rescue in which someone has to break into his little bubble of personal accomplishment to bring him back. Yet again his ego must be tested, and he must be humbled.

And then he goes back home, he's a Master of Two Worlds, the known and unknown alike, and he delivers The Boon to the common people so their lives can be made better by it. He earns the Freedom to Live and melds back into a mundane civilian life, as a productive member of his society, as a father, and eventually as a new hero's Magical Aide and old wizened mentor.

Shit.. I let this get away from me and shifted my whole rhetoric halfway in... >:/ My point wasn't to outline the mythic structure but the psychological one. So let me try to just summarize briefly now:

A boy needs to leave the comfort of home. He has to learn many new skills, starting with being taught by a teacher. He has to learn his limitations, finality and fatality. To secure a legacy he seeks a wife; to get a wife he must respect women; to keep a wife he must not be a fukboi. He must be a better father than his was. He must learn to want to give back to his community, and then return with knowledge and/or resources to better said community. He assumes a mundane life, he has kids who will grow up as he did; he'll be their father to overcome, and their mentor to learn from in time.

↑This is the Hero's Journey that Campbell became so fixated on, and that George Lucas maybe kind of oversold and muddled with film savvy, but that the original Star Wars still managed to embody and launch into the public consciousness. This is the Hero's Journey I wish more people would talk about and engage with, rather than the color-by-numbers nonsense that it's been reduced to.

[bradshawsophia]

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How Do I Save My Marriage

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