#hey its a thing i'm doing

[nocofamilyau]

A fortunate ending???

HAHA SUCKED IN

APRIL FOOLS!!! don't worry tho, the real final part to this arc will come about in the next few days, this just felt right at this moment.

[gwinver-art]

:'>

[bitegore]

I made a character sheet to plot your OC's development over time! (There's supposed to be a character name in the big white space next to "over time" but it got eaten a little lmao)

You can use this for whatever you want, and you don't have to credit me. Feel free to change or edit anything you feel like. Please don't tag me if you credit me - just link to the original post.

Credits, explanations & a transparent version under the cut :D

Credits:

The actual image was made with the free NBOS character sheet creator, which is a sort of dated but free and solid text-layout sheet maker intended for ttrpg style character sheet creation.

Fonts used were Bisdak (titles) and Rockwell (body). Both are free! You can use them to fill it out if you like.

Inspired by a comment @maybe-solar-powered-calculator made on this other post about filling it out for characters at multiple points along their arcs. Thanks for putting the idea in my head :D

This is explicitly released under a CC0 1.0 deed, ie: you can do fucking whatever you want with it and I don't care and you don't have to tell anyone where you got it from and no one gets to stop you.

-

Last time I made one of these I got a bunch of questions on all manner of things, and I can never keep up, so I'm just appending a set of notes for how to use it and a glossary because I know some of these phrasings will be confusing.

Ignore or change anything you don't feel like works for you here. You can do whatever you want forever.

Suggested / intended use & general notes:

This sheet could work for something story-level, if you want. But it's really only good for individual arcs; if the character goes through multiple arcs in your story, then they're going to fit poorly here. In that case, you're probably better off doing versions for each arc, or just adapting this to a different format more suited to your thing.

Also, if your arc has a nontraditional structure - divorced from the typical "rising action - climax - conclusion" type of structure where there's a clear 'important turning point' - it may not work as well either.

The mindset section is meant to come at it from a 'golden mean' standpoint - that is, everything on either extreme of the slider is 'too much' and therefore bad. It's not bad-to-good! The far right side is a flaw too. They're only grouped the way they are on basis of the specific OCs I personally had in mind when I put it together.

Growth is labeled 'worse'-to-'better' but it means, like, active decrease in that area vs active increase; if nothing changes, it should stay at the center even if it sucks. The category is about contrasting changes, and sometimes changes are for the worse!

The entire sheet is very deliberately subjective. It should really be answered from the character's perspective - how they feel about it, not what's necessarily true. Technically you can do whatever you want and I can't stop you, but it's a better tool if you approach it from the point of view that the character may believe things that aren't true - that will define their behavior way more than the objective facts of the story.

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Definitions:

This part is long as hell - recommend using ctrl+f to find the specific words you're stuck on. I defined everything.

General categories:

Mindset: how your character thinks about themself and how they act. Their understanding of their own approach to life. Attitude, viewpoint, decision-making process, that sort of thing.

Circumstances: the relationship between your character and the world around them. Where they are, what that place is like, and how they feel about it.

Growth: how the character and their impact - their attitude, their behavior, their immediate surroundings - changes over time.

Outset: the start of the character's arc.

Present: the 'center' of the arc. If you're planning something ahead of time and it hasn't 'happened' yet, then this is the near future.

End-game: where they are after the conclusion of the arc.

Mindset terms:

Center of the world: "If I have a problem, it's the only thing that matters to me." Self-centered, self-absorbed. Doesn't necessarily mean anything beyond that - they don't necessarily have to be unpleasant to be entirely focused on their own life.

my life isn't relevant: "Everyone else's problems are so significant, I don't pay any attention to my own". Someone who ignores or neglects their own life in service of some other thing, or doesn't consider their own behavior to have any real importance.

Only see enemies: Paranoid. Everyone's out to get them. Anyone who seems nonthreatening is hiding their potential for danger and everyone who seems threatening is a threat. The character must remain ever-vigilant, lest the cashier at the 7/11 suddenly stab them, or their best friend turn out to secretly be trying to poison them to death.

Only see friends: Naïve. Everyone is a good actor who wishes everyone else well, and if they don't seem like they're acting from a place of kindness or care then you probably don't understand what they're up to. The character is pretty sure the stranger holding that knife is, like, someone to chat up maybe, they're clearly only hanging out in this dark alleyway because it's a nice spot and no other possible reason.

overthink everything: Ten thousand thoughts per every single action taken. Maybe they never get around to acting at all. They have to consider every possible outcome. What if by eating lunch they accidentally trigger the apocalypse?! Who's going to think about these things if not them?!?!?!

impulsive to action: Act first, think never. What do you mean "consequences of actions"?

Unilateral decisions: "I will make every choice and no one else's opinions or thoughts are relevant". Discounts outside suggestions. Firmly convinced that they know best in any situation, and will brook no disagreement with their views when it comes to actually doing things.

Command me, please: "I don't know what to do and I don't know what to even start with, someone please tell me what to think". No confidence in their own views. Will not make any decisions unless forced and even then will beg someone else to please tell them what to do. Has no idea what's best and is pretty sure anyone else will have a better idea.

can't ask for help: No one will ever help the character; they have to do everything themself, even the things other people have repeatedly offered to do for them and have much more experience with. Doesn't necessarily mean that no one will help them or that they are explicitly barred by some real-world circumstance; just that, for whatever reason, they refuse to ask for help. This is an attitude thing - will they ever reach out? No? Then they're here.

too reliant on others: Have they ever solved a problem alone? Do they believe they're even capable of doing so? The character all the way at this end of the scale absolutely never expects to be able to do anything themself, has no trust in their ability to solve a problem, and needs someone else to come save them from it. The kind of person who needs ChatGPT to do their homework. Again - doesn't actually mean anyone will help them, or that the people they're relying on are reliable - just that they think they are helpless without ... well, help.

Weapon maker: This has to do with problem-solving strategies and not actual weapons. The weapon-maker is a character who views every situation as a conflict that cannot be de-escalated or solved by cooperation, and responds appropriately. The most fundamental weapon maker character turns everything into an argument, a fight, a war, etc. There are a bunch of other responses to conflict, though - they might avoid problems that need solving because they avoid conflict generally too. Fundamentally what you want to answer here is: when they see a locked box and they don't have the key, do they respond to it the same way they'd respond to someone telling them "you can't open this box"? And how do they respond to that? Typical weapon-maker approaches: - brute-force the box open or try and then give up if it doesn't work; and also get into an argument that might turn physical with the hypothetical person - shrug and give up immediately, in both situations so on and so forth. Another hallmark is that they kind of suck at problem-solving and give up if brute-forcing a problem doesn't work. This is not someone who is picking locks unless someone else told them to - they have one solution, it's to make everything into a conflict, and then to win that conflict by beating them or to give up because they think they'll lose.

Tool maker: This person approaches every situation like it's a puzzle, not a fight - up to and including actual fights. Tool-maker characters generally assume that a situation can be solved by just finding the right approach and doing it the clever way. There's the same fundamental question as above - if your character sees a locked box and has no key, would they approach it differently than someone telling them they're not allowed to open the box? 'Typical' tool-maker approaches: - I can trick the person into giving me the key by saying the right things, and I can also pick the lock because fundamentally there are 'right answers' to both of these - If i make friends with this person, they might change their mind, because now we're cooperating. I can still pick the lock because there are 'right answers' there. - The person has a reason for wanting me not to open the box, so I can definitely figure out what that is and solve the reason so then they'll let me open it. I can take whatever it is even if they really want to keep it if I just find the right answer. I'm going to break this box into little pieces because that's the easiest way to get into it but I could probably open it some other way if that wouldn't work.

A note - the center of this bar is someone who generally has different responses to different kinds of situations - like, in the box example, they'd approach the box and the person with two different general attitudes and processes - but generally responds to those situations using the same kind of decision-making process for each category every time. Most people are nowhere near either extreme. Characters tend to be classifiable into weapon-maker and tool-maker because they are fictional and it's easier to define one kind of approach than many. Approximately average approaches: - pick the lock if no one's around, but give up if someone is there because someone telling me not to open the box is a conflict i think i'll lose but a locked box is just a puzzle that i can solve - argue with the person, but give up on the box, because they're approaching the box as a puzzle and they don't think they have the skill to get into it, but the person is someone who can be convinced or bullied into handing over the key

I made this particular dichotomy up, which is why I think I get a lot of questions on it whenever I put it into anything, but I also don't know of any other snappy way to describe this sort of thought or approach variance, and it's genuinely useful for character writing in my opinion.

Pessimist spot-finder: Generally a downer but not necessarily. This kind of character just approaches everything with a close eye for problems, issues, reasons to find fault. If they're miserable, it might be why, but like, they can be a cheerful spot-finder if you want, I just wanted to get at "the glass is half empty" and "the glass is half full" more than anything.

Optimist upside fan: The opposite. "The glass is half full". If there are problems, they can find something about them that's not so frustrating or bad to focus on. Pretty damn good at overlooking minor issues if there's no reason to fixate on them. Not necessarily cheerful.

Abysmal company: could not give less of a damn about treating people the way they 'should' be treated. Maybe they take pride in that. Maybe they just think it's irrelevant. Either way, they know they treat people badly and they don't see any reason to stop. Does not necessarily mean that they treat people badly if they think they're doing the right thing and are wrong. Doesn't mean they're actually pleasant or unpleasant to hang out with, either, unless you really want it to mean that.

Decent to others: treats people well as a matter of course, or at least they sure think they do. Makes an effort. Would probably care and/or consider changing their behavior if someone said they were treating someone poorly. As before - they can be completely un-self-aware and just think they're doing right by people while treating them completely horribly.

Morality is irrelevant: 'abysmal company' for broader approaches to life and problems. Maybe they just know they're myopic and don't think other people's problems matter. Maybe they just gave up on trying to differentiate between 'good' and 'bad' and outsourced it to someone else or stopped paying any attention. Maybe they just like to take morally unjust actions and can't be bothered giving a damn when someone points out that they're morally unjust, or maybe they're proud of it. Kind of a villain trait generally, but not necessarily - it doesn't have to mean they act badly, just that they don't care if they do. Also, this is about how they choose their own actions and view their own behavior. They can think morality is relevant for other people as long as they ignore it when they act themself.

Always in the right: feels morally righteous in every decision they make. Standard superhero type of trait. Doesn't necessarily pass judgement on others, doesn't necessarily act well according to everyone's moral code (see: blue and orange morality), but they are extremely principled and will never deviate from the moral code they personally believe in. And they do genuinely believe in it.

Circumstances terms:

Generally terrible to generally excellent: how subjectively decent is your character's situation, overall? If they think everything is horrible, but the situation is charmed to everyone except them, then it's generally terrible.

Need for changes to passive tolerance: will they do something about it? Do they feel like they have to?

No agency in action to decisions are huge: agency being "how much power do I have to make changes here?", this just asks how much they have. No agency means that, no matter what they do, nothing will happen - they might be locked in a cage or somehow otherwise completely unable to use any sort of power at all, even the power of just leaving. The other end of the spectrum is where every decision the character makes makes a huge difference, not just to themself but to everyone around them as well. They can start wars, they can have anyone they want killed, they can do anything whenever they feel like it. If they think they have no agency even though they do actually have agency, they don't have agency here. If they feel like they have all the agency in the world and can do anything, then they do even if it's not true. It's perceptual again.

Stakes are deadly to mistakes solvable: what are the consequences of failure? Will you die, will you lose status you can't afford to lose, will you lose belongings, will you have to apologize, will nothing happen at all? Mistakes solvable is where they think every mistake is solvable forever - the character pushes someone through a woodchipper and they come out and to fix it, maybe an apology has to occur, but not much else. Does not necessarily mean no one gets hurt or killed as long as the character thinks there are no permanent consequences. This is the most important one on this section to keep subjective because it will greatly influence how your character approaches situations. A character who thinks everything is deadly-stakes may go to cartoonishly-extreme lengths to avoid turning a report in a day late. A character who thinks all mistakes are always solvable may push someone through a woodchipper and then just assume they can say they're sorry and it'll all go away. The setting and their approach do not need to be applicable.

Needs go unmet to attended with care: how do the people around them treat them? Do they pay attention when the character needs something, or do they ignore it? Does the character have to do everything themself around here, or are there people who will help out?

Regarded poorly to regarded well: how do they think other people see them? Are they respected, are they liked, or are they disliked? Do people broadly trust them or are they pretty sure everyone regards them with suspicion?

Nothing changes to changes in seconds: functionally the 'stability' meter of your setting - is the situation generally stable, or are things constantly changing? Does your character feel like every five minutes, there's a new problem that needs dealing with, or do they feel like nothing has ever happened ever?

Growth terms:

Changes in place: do they go somewhere else? Does the physical setting otherwise change (eg; earthquake, war, etc) ? Are there any other reasons that the 'vibe' or 'experience' of the place is different from before?

Change in power: does the character's percieved agency (see: no agency in action to decisions are huge) change? Alternately you can use it if they've gained or lost power in some percieved way (deposed, assigned a commanding position, etc).

Change in bonds: do their relationships with people change? Have they made new friends, lost old friends, changed the nature of their relationships with friends or partners, etc?

Change in beliefs: straightforwardly, have their beliefs, morals, etc, changed?

Change in hurts: have they undergone some horrible experience? Do they have past trauma from some pre-arc horrible experience they're healing from and/or discovering they're more powerfully subject to? Did they experience a physical injury that they're recovering from or which materially changed their life? Did something recent dredge up old issues? So on and so forth.

Change in hopes: Do their desires for the future look the way they used to? Do they care about different things now? This is something the character is not actively working for, but may be tied to actual goals.

Change in fears: are they overcoming fears? Growing past them? Gaining new ones? Are they scared of shit different from how they used to be?

Change in goals: Not the same as a hope because it needs to have a specific, achievable outcome the character is actively working toward. Do those material goals look different? Perhaps they no longer want to work against something, maybe they didn't have any goals and now they do. Or maybe they've realized the goal is impossible, or something has happened to make that goal unachieveable. Whatever it is, if there's a change, it's a change.

Change in self-awareness: their beliefs about who they are and what they're like, and what their circumstances are. Have they gotten more self-aware, have they gotten less self-aware, or has nothing changed?

Change in relationships: their relationships' overall health and resilience, as far as the character is concerned - which doesn't mean they're necessarily good, just that the character thinks they're how they're supposed to be. Have they improved? Have they gotten worse? Have they not changed?

Change in knowledge: do they feel like they know more about the world, their place in it, the people around them, etc? Not necessarily how to do things - just general information and awareness.

Change in social standing: how does others' regard for the character change over this part of their arc? Do people like them more or less? Are they respected more or less than before? Has nothing changed? And so on.

Change in skills and abilities: do they feel more skilled than they were before? Do they feel like they know how to do as many things as before? Again - not necessarily rooted in reality - a classic example of a character being wrong about this is a 'big fish in a small pond' character who used to be the high school sports star going to college on a sports scholarship and discovering they're not the best any more, and suddenly feeling like they're the worst - when they're better than they've ever been in an objective light. Use a subjective viewpoint for this.

Change in agency in life: how does the character's percieved agency change? Do their decisions matter less now than ever? Do their actions make way more happen than before? (See: no agency in action vs decisions are huge)

Change in outlook: Here's the upper/downer part. Are they more or less hopeful for the future? Do they think things are more terrible now? Are things improving as far as they're concerned? Or has that not changed?

Change in goal progress: how do they feel like they're progressing on the goals they've set for themself? Are they getting further and further away? Are they getting closer?

If some of this doesn't make sense and you want a clarification, you will have to tag me to get my attention, because I'm turning notifications for this post off the minute it leaves my immediate social circle.

Transparent version: (sorry you had to scroll so far)

[voidwelt]

The mispronunciation of Welt's name used to bother me (as it is canonically meant to be based on the German word, so it should be spoken with a harder V sound). I studied German in school, so I had to work myself out of pronouncing it correctly, just so the game pronunciation would stop bothering me.

But as time passes, I sort of come to think, the way the reason for this mispronunciation IRL is the intent being lost in translation (CN doesn't quite have the right syllables for the German pronunciation and EN direction carried this along in HSR), the reason for its mispronunciation in-game could, if you like, also be chalked up to something being lost in translation (in a different way).

I like to imagine Welt Joyce's name is 100% pronounced correctly. (No EN dub exists to prove me wrong). He got the name right from its source, given to him by a German, and mentions as such when he dies, "Welt" for "World" in German. There's no way it's not meant to be pronounced correctly.

When it gets passed down to Yang, the meaning is still there, but the interpretation is muddied through the inherent perception filter of a young person (as is his interpretation of the duty as a whole). He sees Joyce bleed out against the concrete to save a city and he internalises this as the legacy and the "burden" of Welt. The German word becomes a gifted Title that represents protecting the World first and foremost, and then as its bearer takes off to the stars, off of that original world, in an attempt to save others, it's even further divorced from its original language context.

When Welt describes the meaning of his name to Sunday, he's come up with his own, adjusted and extended definition for it. He's expanded onto it with his own thoughts, influenced by the Trailblaze and how many lives he's come into contact with. "Each person is a world unto themselves, with as many possibilities as the distant stars." (paraphrased)

(He also says some stuff about how the Trailblaze doesn't end when you leave the Express, so it really makes me think of how he might think of... Ahem. Anyway, back to topic.)

Ultimately, Welt Joyce and Welt Yang have the same first name/title in text and in writing, but...

If they're pronounced differently, it just goes to show, that no matter how hard Welt (Yang) attempts to personally embody his hero in all that he does, how hard he tries to carry this legacy in its purest form, they're ultimately still different people, with different experiences, with different souls.

Or, I could just be looking too much into a minor flaw in the translation process! Isn't that the fun of thinking too hard about things? Should we run Mr. Yang over with our shared car? We have to do something about this

[zarla-s]

I've been playing a lot of Palworld lately, it's so addictive! It scratches a certain itch for me perfectly, haha. These are the three that have stood out to me so far, which probably doesn't come as a huge surprise.

[patreon]

[moeblob]

Honestly? Good anime imo! I really enjoyed Aileen. I enjoyed Claude. I enjoyed Isaac and Keith and Rachel and Almond and Ribbon. I enjoyed Belzebuth and the flock of ducks (Walt/Kyle/Auguste) and Jasper.

[androids-insides]

can I hug the narrator? I’ve had a shitty week :(

P.S: tell him I love his voice 🥰

[secriden]

Oh I just realised the crazy not-flirting shenanigans do NOT end, and in fact continue in episode 3.

Style. Style what are you doing.

[nenoname]

honestly??? i still dont know what to do with the idea that there might be a bunch of clone fords out there???? it honestly makes me so unhinged??????

[ducktracy]

Say what you will about the Looney Tunes Show, but you have to admit (or maybe you don't) that its incarnation of Lola is superior to her Space Jam one.

THIS IS TRUE! Lola is one of the things i like about TLTS and do think they did well with. likewise with turning Gossamer into a kid, i always get whiplash when i remember he's just a regular ol' monster LOL. Lola barely registers as a character to me tbh/i don't really consider her or Tina a LT character, so maybe that's why i enjoy them... kinda... in the show

[volt-reblogs-n-rambles]

alright stangst lovers hear me out, post-weirdmageddon or like old stan twins with the song euthanasia by will wood.

[frameconfessions]

Valkyr Prime No Forma Queen Steel Path Circuit Armor Strip Deluxe Build AKA Can We Get Much Higher

There's room for improvement (like adding forma and maxxing out the other arcane), but I don't feel like it right now.

Here's the Valkyr Prime mods & arcanes setup. Use Terrify (Nekros helminth) over ability 3 for armor strip ability. Use these archon shards to get the 100% armor strip too and good energy economy. Feel free to ask about any of these mod or build choices, this build is from like 2 years ago that one of my partners helped me set up and still going strong. Delusion helmet and Gersemi skin for appearance.

Prime Talons mod setup. Blast damage is the current meta as of December 2024 so you can see the original before Damage whatever number update point 0 we're at now compared to the original build.

Equip Naramon, it's extremely important for power scaling and end-game level damage.

Fully ranked up Power Spike is the only focus school stuff you need, but having the waybounds unbound is always good for operator/drifter survival, combat, and movement.

Manage your energy economy by getting parazon finisher kills on eximus units if you start running low, just edge the health bars until you see the prompt and your energy will shoot up to almost max if not max. More than half the time arcane energize should kick in and give you a boost on top of the archon shard energy boost (not sure if the effects of the shards and energize multiply/stack or not as I'm not a build math gal but it feels like it does).

Here you go @issilya and anyone else wanting a no forma Valkyr Prime that scales well into higher levels.

[sp-growingpains]

SNATCHED! GRABBED EVEN!

Low effort, but I wanna draw more of these dorks.

Archie Refrence:

[trans-yllz]

hey cis people. hey. look at me in my face. hey. do not go up to random visibly trans people out in public and ask "you're trans right? which way did you go?" you fucking maniacs

[sojourner-between-worlds]

.

[doctorweebmd]

i don't think i'll ever get over the comedic timing of being prepared to intubate an obtunded patient going into worse and worse shock on three pressors code cart in room pads on having like six people all staring at the vitals anxiously as this person might code at ANY MOMENT, me standing at the head of the bed ready to tube the second we have a safe BP and the nurse from two doors down comes into the room and says, 'hey doc, room x is in asystole' and just. walks away.

i'm just. standing there. peri-coding this patient. and i'm calling after him 'uh.... are they supposed to be?!'

absolutely insane delivery. no context no info just 'hey, btw this person's heart stopped. :) bye ' HELLO!?!