#i have another character that i can project my problems on

[my-mt-heart]

Putting the "ew" in EW

There are a lot of things wrong with the article, but let's start with the glaringly obvious...

Instead of letting Daryl's and Carol's connection speak for itself and letting fans get excited to see the connection as they've understood it for over a decade, Dalton Ross tries to project his own POV onto us, overemphasizing a platonic friendship as if it's the only right answer and ignoring the core of Caryl's fanbase, who are well within reason to want payoff to a romantic love story between Caryl that was earned time and time again in the flagship show. If his goal was to define the relationship for us once and for all, he completely fails. All he's really doing is exposing himself as yet another deeply insecure and toxic middle-aged white man who can't fathom a middle-aged woman with gray hair as a romantic partner for the middle-aged male protagonist. It's ignorant at best and at worst, it's aiding an effort to hurt Melissa's viewership (worth noting that Dalton Ross is one of Gimple's connections). But sadly, his spin is not even the worst problem...

This has to be one of the most ridiculous exchanges between a showrunner and a lead actor that I've ever read, but to cut to the chase, if the former is so disconnected from Daryl that he doesn't know the first thing about how this character forms attachments with others or why it takes him so long and what that says about his relationship with Carol, he shouldn't be the showrunner. That's been clear since S1 and in every interview he does, so at this point, AMC is shooting themselves in the foot the longer they keep him on or even just let him open his mouth.

In case I haven't made myself perfectly clear a million times, I am here for the Daryl I connected with when he became the most loyal and loving man to Carol and his family in the flagship show. I am here for The Book of Carol because I want to watch Carol rise above her trauma as she's risen above so many challenges in her life and I want to watch her finally claim a love she didn't think she was worthy of before, which is true love/romantic love/soulmate love with Daryl (look, I can overemphasize too). I want to watch Melissa McBride, who has also had to rise above so many challenges as a woman in the industry, give one powerful performance after another after another. I want her to get all the praise from fans and critics that she deserves and I want her to have more creative control since she's the one who really knows how to do Carol's story justice. Imagine if all we had to analyze was her own words...

I am so fucking tired of other EPs trying to turn the beautiful things she has to say and the beautiful things she brings to her show into a footnote because they always have to be so overt in their misogyny, ageism, arrogance, and stupidity first. I am fucking tired of feeling unwelcome to a show being marketed as #TWDCARYL when I am both a Carol and a Daryl fan who also ships them together. The perpetual mess doesn't speak to Melissa's value or to her fans' priorities. I will continue to direct my blame at the other EPs, and I need AMC to start doing the same. Stop giving David Zabel, Greg Nicotero, and Scott Gimple a platform. Stop giving into their need to promote themselves. Stop losing viewers over them. Let's get a showrunner who understands Carol's and Daryl's characters as well as their relationship, and here's a new idea, let's get journalists/reviewers who don't try to shove their own insecurities down our throats to cover the aspects of the show that we actually connect with. Believe it or not, those of us who are loudly complaining do want to be here.

[faysgeekystuff]

Francesca Bridgerton has SAD

This new season of Bridgerton has been absolutely amazing with Polin, Eloise scenes, Violet being Violet, and, of course, Francesca Bridgerton. She is such an interesting character to me, and extremely relatable to many people. She has become my favorite character in the franchise due to how much I relate.

I think everyone agrees that she is an introvert, it's been confirmed by Julia Quinn and everything. Having her social battery run out, enjoying solitary activities such as piano forte, being overstimulated by crowds, needed time to herself, preferring to be a wallflower, sitting in companionable silence ect. She is very different from her sibling, and it's refreshing to see an introvert in the Bridgerton family.

One thing I couldn't help but notice is the anxiety she has when she's social. Now someone isn't necessarily neurodivergent or has a mental health issue if they're an introvert but there is a higher likelihood because of how many signs overlap. Francesca is a character that I've noticed many people, introverts or nuerodivergent people especially, relate to. I honestly think it's amazing! But I haven't seen many people talk about the clear signs of anxiety she has.

She fidgets a lot in social situations, avoids eye contact, anxiously follows social situations until she's told by someone it's okay to take a break or to go play piano. Avoids being social but will mentally prepare herself if she has to go to events. She wants to be done with these situations as quickly as socially possible, which we see when she leaves multiple balls early. There are so many signs but the biggest one for me is the faces she makes.

Hannah Dodds has done an amazing job showing the rich internal life of Francesca. The faces she makes show clear thought and internal dialogue without any of it having to leave her mouth. The anxiety she has before meeting the queen and having everyone look at her, the panic when she is surrounded by multiple suitors who don't follow her practiced dialogue (they went off script!), the relief when she finally has time for herself and can get away, the nervousness when she's dancing with a suitor because if she messes up everyone will see and judge her. All of it leads me to believe that she is a very socially anxious person.

All in all, I see her as an introverted person with Social Anxiety Disorder and relate to her so much because of it. It's something more people should talk about. When we see Social Anxiety on screen or in TV it's almost always someone who never leaves the house or has a panic attack when people start talking to them. It's almost always portrayed as debilitating and generally becomes the personality or quirk of the character. There definitely are some people like that but SAD is often fairly functional. We can go to social events, talk to people, be in a crowd, ect.

A lot of the time an underlaying anxiety throughout the interaction and you have an internal monologue telling you to not to mess up. To avoid judgement. Asking if this is okay to do? Do i look weird doing this? Are they laughing at me? When is it okay to leave? Can I go to the bathroom now or is the timing weird? Am I making eye contact too long or too little? Can i find somewhere away from people? Most of that stays internal but it can have few outwards signs. Things like avoiding eye contact, or figeting, making a face, trying to find a way to escape a conversation. All things we see Francesca do. It's so nice to see a mild form of social anxiety on screen for a change. Someone who can live their life despite the anxiety and is so much more than just their disorder.

Even if you don't agree with me and you think she's just an introvert, or she's shy, or she's on the spectrum, or anything else. I find it amazing how many people see themselves in her. That she can be seen in so many different ways, and have so many people love her without being a loud or gregarious person. She's quiet and has a rich internal life, and so many of us love her for it.

[reluctantbylerblog]

they really have the gall to say they aren’t biased against byler when these are their reactions to both of these posts:

like c’mon bffr

[please-just-let-me-have-a-name]

I officially have a rough draft for Splintered Glass in its base form 😭🎉

I say base form bc in my head it would actually be a webcomic

[cripplecharacters]

Hi! I’m working on an original character project that I want to include a lot of casual representation in (“casual” meaning that the characters don’t need a justification for being disabled/fat/POC/etc, they just are because people can and do exist that way in reality!)

I was wondering if you had any suggestions for finding resources for drawing facial differences(and maybe other visible disabilities), especially in a cartoony style. I’ve looked through the Facial Equality Week tag but would like to see more examples, and since my art is so… goofy, for lack of a better word, I would love any help I can get in integrating differences without being offensive or upsetting.

Sorry if this is a bother, and thank you for all that you do!

Hi!

I'm not aware of any guides for drawing facial differences specifically (or at least, good ones. There's 1 billion tutorials telling you that scars are just a Singular Line, always, but that's not... correct), but perhaps someone in the notes could help out?

For my own advice, you could check out this old post I made. Because you mentioned your art being cartoony, I would specifically urge you to not overexaggerate facial differences the way they often are. Prime example would be how a lot of cartoons portray strabismus;

It's just a funny gag to them rather than, IDK, how some of us look like. Not to mention that one of these is also a mockery of intellectually/developmentally disabled people with "Derp" in the name, but that's beside the point here.

It's the whole "the character is crazy/stupid/wild/whatever and that's why they have it" that's the problem with how it's often shown. You can also see it in how characters who don't even normally have it will be shown with it for a scene where they're saying something nonsensical, etc.

Another example that's nowhere near as rampant is the like... split-face thing with various facial differences being used. Mostly vitiligo but sometimes also facial palsy. I'm talking about this weirdly perfectly halved face that looks extremely different on each side, often used to signal that a character is two-faced or that the author doesn't know how vitiligo looks like.

[note: vitiligo also shows up on lighter skin. I wanted to make sure it's visible here for tutorial clarity purposes.]

This one is just weird because it straight up doesn't look like that? I have no idea where it came from, but it should go back there. Facial palsy doesn't make someone look like the antique comedy/tragedy theater mask.

Unless I'm forgetting some other annoying cartoon trope, these would be the big ones that you should stay away from.

Outside of that, it's really on a case by case basis on how a specific FD should be drawn because they're so different! A birthmark can just be a differently colored patch of skin, but a craniofacial difference would require some more changes to be included. Alopecia is well, lack of hair, and can be done very easily but ectrodactyly can be more complicated to show properly because of the limitations of a cartoony artstyle when it comes to hands. And while I do think it would be great to see more of those facial differences that tend to not be included in art at all, there's nothing wrong with deciding to go for the things you can represent more faithfully, especially if you're just starting.

I will say that if you're making an honest attempt at being respectful and trying to get it right, most of us will still be excited to see your work. Even if it's not perfect or has some inaccuracies. I will take a "'yeah more or less' correct with a happy, human character" over a "Very Technically correct but tagged as #tw burns and with blood splattered on them" any day.

Lastly, I wanted to share some art featuring characters with facial differences (and other visible disabilities) that are done in a cartoony, or at least somewhat simplistic artstyles (I'm using both terms very widely here, but like. Not Realism) - maybe it will give you some ideas!

Man with Treacher Collins syndrome (also one of the first pieces online where I saw a character with an FD portrayed in such a lovely way! A fav of mine) Girl with Pfeiffer syndrome Too many characters to count! Woman with burns Woman with a limb difference Multiple characters again Animation featuring people with Down syndrome [youtube] Multiple characters, including a girl with neurofibromatosis, a burn survivor, a girl with a cleft lip and another with TCS! [twitter]

If you have a more specific art question ("how do I draw a person with XYZ facial difference?") you can send me an ask on @saszor! I prefer to stick to the writing theme on this blog but would still like to help if you need it:-)

Hope this helps!

mod Sasza

Edit: apologies for the lack of alt text on one of the images, it has been fixed!

[cthonic-bunny]

1. personal synastry and composite experiences and observations

Do not interact if you are a minor. (18+)

Sun in 8th house synastry: I was the house person they were the sun. I definitely developed insecurities I never had before as a result of this connection. With the sun shining brightly on my insecurities, they were hard to ignore and even harder to not project them entirely on the sun. A lot of “you did this to me!” energy. I didn’t consider myself a jealous person until this relationship and a lot of it came from wanting to be “good enough” in the eyes of the sun person. It’s like knowing you have these darker aspects in common and wanting them to see you can bond this way and see them in a way no one can. You also end up pushing limits together. You liked this? Now WE love this. You’re addicted to that? Now WE are addicted to it. Moderation is hard to achieve with sun in the 8th house synastry. It can also bring up insecurities surrounding sex with that person specifically, if poorly aspected. Explosive reactions and emotional outbursts aren’t foreign here. The house person can feel like a vampire being sunburned, with all its ugliness revealing itself from its body because of its interaction with this person. The 8H person wants a full, in-depth analysis of the sun person’s thoughts, intentions, and motivations. The plutonic energy wants to completely envelop the sun, compulsively in some cases, to know WHY they are the way they are, and why the sun presents themselves in certain ways. This is especially true if the sun person did something to hurt the 8H person, who can feel it more than is rational. The 8H person can really struggle with getting over any emotional harm or feelings of abandonment that come from the sun person. The 8H person can potentially resent the sun person for not being able to read them as intently as they could read the sun person. The sex, if and once insecurities are worked through, can bring you so much closer to one another and to yourself. I also feel like any disturbances or intimacy problems between you two can easily be felt by others or there can be blow ups in front of people you know, because the sun is a planet that illuminates wherever the light lands, whether you like it or not. Avoid public fights, because you will kiss and makeup but the damage in other people’s eyes will be done and opinions will be made. The 8H person might be able to see through any facade the sun person puts up, and this could lead to deep discussions that could be extremely healing for the Sun who might have to work through some things. The 8H person can also teach the sun person how to make more money and maybe even encourage them to start their own business. They can be known as a couple that makes a lot of money together. The sun person can also give sugar daddy/mommy vibes and the 8H the sugar baby, even if it neither one of the people involved are rich-rich. This is a highly binding placement. You two might find it difficult or even impossible to separate from each other even if the relationship has run its natural course. You guys are known as the couple that is “stuck” to one another.

Moon in 5th house synastry: *weird* but, for those who have this placement with a significant other, do you love to smell their body odor? I think in the house of children and fertility, it makes sense to love your partner’s pheromones. Something as weird as the smell of their armpits or stinky feet becomes comforting, idk?? This house is also really fun, and you can get a lot of emotional fulfillment out of acting like children together. 5H is ruled by Leo, so I also found that we had a lot of fun putting on “shows” for one another, and sort of making up our own characters and accents to make the other giggle. People are also really excited for the prospect of us having children together, and you’ll have friends volunteering to babysit or be the godparent of your unborn children LOL. Dressing up nice and going out on dates to somewhere with a great ambiance can be a great way to feel connected. Sharing perfume, or gifting each other perfumes or colognes. Loving the scents they wear. Same taste in candles? Candles as gifts. Lots of watching TV together? Having “shows” that feel wrong to watch without the other. Being called pretty by the other means a lot, and being pretty in each other’s eyes makes you feel good.

Moon in 12th house synastry: 12H synastry tends to have an awful reputation, and I get it when it’s a relationship that isn’t meant for you. However, my moon falls in my best friend’s 12H, and it is one of my favorite placements of ours. We have a telepathic connection where we can just look at the other and know what’s up. You preemptively know what will bother the other person and find it hard to understand how other people wouldn’t have assumed that thing would annoy your person. You understand each other’s motives, and can provide the ultimate shoulder to cry on or ear to listen with. When it’s a new interaction it can feel a bit intense, because how are you in my head!!! I feel like you can read my thoughts! It was like that for the both of us. It’s like, when together, both our consciousnesses transported to another realm where we are mutually perceiving something and our thoughts are being put on a radio for the other to listen to. Very spiritual relationship. You KNOW the vibes, and those feelings will be verified through the other person who already felt the same. She will never be wrong in my eyes and I will defend her to the death. We don’t even have to speak on certain days, but we can feel whatever mood the other one is in and check-up on each other accordingly. Whenever we have a strange dream or nightmare, the first thing we do is text each other and try to analyze what it could mean. I as the 12H person also dreamt of us becoming best friends before we formally met. The dreams i would have of her would always be loaded with spiritual symbolism. We also grew up with the same level of emotional attachment to our personal spiritualities and shared religion, which plays a large role in our understandings of one another. Most people just won’t get it, but she always will. She could read my crazy journal entries if she wanted to. 12H moon synastry is just unconditional love. Between friends at least, it feels like a long-lost twin connection. Also, her and I had gotten matching tattoos before we even knew of each other, both of them being for the same spiritual meaning!

Composite Mars in 3rd house: Lots of talking during sex, and lots of car sex— It might sometimes feel like that’s the easiest thing to talk about, or the conversation always steers to that direction. Sending nudes? Sexting. Maybe the only way you two could engage your sexual desire for one another is through sexting, because distance might not permit the full physical expression. If you don’t have a lot of experience knowing the other’s communication style, it can lead to a bit of random defensiveness or perceiving the other as communicating abrasively. I think it can lead to one trying to get reactions out of the other by saying something out of pocket.

Composite Mercury in 12th house: Pay attention to the dreams you have of this person! They will seriously tell you a lot about your dynamic, but don’t take them at face value! Lots of mystical elements to your dreams about them specifically, so maybe reviewing tarot card meanings and astrology concepts can help you decipher the meanings of your dreams. You might find it easier than expected to confide in each other or rant about your brain’s inner workings together. “I don’t know why I’m saying all that-“ or psychoanalyzing each other for fun. Talking about your less-than-desirable attributes. Being honest about your deceptive tendencies or specific lies you’ve told and why. Oversharing things that will usually make other people uncomfortable in the same context (like talking about your exes or failed situationships on a first date). Difficulties communicating when it’s not in person because it leaves too much room for confusion. Deceit is a real possibility though, with someone voluntarily “leaving out details” about their life outside of the relationship to avoid ruining the flow of energy or the dynamic. Having each other saved on your phones under fake names. Having to hide that you’re talking to this person from other people. One of you withdrawing communication to manipulatively make the other think about you more. Taking turns being each other’s therapist. Thinking about each other often but never expressing that, or the extent to which you think of one another. Thinking about the other at night before going to bed. “I started catching feelings for the girl that I’m currently having sex with, so it’s safe to say we don’t talk anymore, unless of course we’re having sex” in Sasquatch .22 by Bay Faction.

Composite Venus in 12th house: There really is a secretive component to this interaction that can feel impossible to bypass. Your family, friends, or society might not “approve” of you two together. One or both of you can be cheating on someone with this person. Only being able to meet up or be affectionate at night or in extremely private settings. The privacy of the relationship can help you open up a lot more than you��d expect to, because there’s no one but you two to perceive the other in this context. No judgments on how you two should behave with one another, so “let’s fully enjoy the moment while it lasts.” No one understanding your interaction or it’s purpose, and you probably don’t understand it either. Sending telepathic love notes. Longing. Intimate and romantic sex that haunts you or catches you off guard. Never wanting to be the first one to admit you’ve caught feelings. Ruining your sleep schedule to spend time with one another. Dreaming about romantically linking with them before it ever happens. Withdrawing once feelings start feeling real. The song “Lips of Angel” by Hinder reminds me of Composite Venus in 12H. “Illicit Affairs,” “August,” and “False God” by Taylor Swift. “Why Can’t I?” by Liz Phair. Gato de Noche by Bad Bunny. Sex by The 1975.

Lilith in 8th house synastry: Wanting to try things sexually with this person that wasn’t necessarily exciting with other partners. “You can do whatever you want to me, and I’ll let you.” Possibly experimenting with or preferring BDSM with one another. That Lana lyric that’s like: You fucked me so good that I almost said “I love you.” It might also be controversial if people knew you’ve had sex with one another. Revenge sex? As in, you two having sex might indirectly be spiting someone else, and it kind of feels like you’re dishing out delicious karma on a surprising silver platter— “lol if only they knew” You two might have fun misbehaving together. Doing what you both know you’re not supposed to be doing can make everything feel better, and even more reason to keep doing what you’re doing. Lana Del Rey in Diet Mountain Dew: “you’re no good for me, but baby I want you.” Wanting to be dangerous together. “Leave me bruised so I can’t forget you.” “Seeing you tonight is a bad idea, right?” This placement somewhat reminds me of a union between the death card and the devil card in tarot, with an emphasis on risk-stained sexual liberation. You can become symbolic of temptation in each other’s lives, so it’s hard to deny your impulses. Toxic by Britney Spears.

-D 🖤🕯

[greykolla-art]

Your art smells like jthm (COMPLJMENT)!!..

Also are there any kool headcanons you have about the characters??

Oh thank you! I love how many different things my art style reminds people of!😂❤

(Í think it's all the hatching and random thickness in the brush strokes.)

But yeah i have some Headcanons! At least for Alastor cause he's the one I think about the most.😜

These are just things I decided to keep in mind when I come up with scripts:

*Al's smile is stitched on him, so he can never stop doing it even if he wanted to.

*He normaly doesn't sleep, (except when hes injured and is using a lot of energy to heal.) at night he just wanders around the hotel like a creepy ghost.

*I don't think Lilith owns his soul. I think it's a third party character we haven't met yet. He and Lilith are connected in some way, obviously, but not a soul-contract way. I honestly have a lot of problems with that theory. for excample: Why would Lilith from the Bible give someone voodoo themed powers???

*Alastor is terrified of feeling exposed, weak or vulnerable. I think when he was alive he experienced that a lot and now he's trying to make himself impervious to any kind of emotional damage.

* He's also very prideful person. When he came to Hell he was like the new kid in school taking down the biggest guy's there to assert his dominance. Putting up walls as fast as he could and screaming: "Don't come near me or I'll bite your head off!"

*I think there's a voodoo doll of him somewhere, and he's desperate to find it. Or he has found it already and hidden it.

*he wants Charlie's soul because that would make him stronger than whoever owns his soul. Therefore be able to break his contract but still keep being powerful.

* I project onto him one of my own personality traits: Being aroace but very romanticly flirty without wanting really anything out if it. Just a proper gentleman. With a trail of confused, broken hearts behind him. (Im personally tryin not to do that but Al doesn't care, obvs.)😅

*People who want him sexually bore him. (Another personality trait I'm projecting onto him.)

*unless you're more powerful than him or are able to further his goals, he'll never go out of his way to dislike you. He never punches down, but he wont have any strong feelings about it.

Í probably have more, but these were fun to write down!😁

[maythearo]

" Welcome back to Night Raven College's 'Ghostly Gossip'! The school's unofficial main online source for the latest news, articles and trending topics circulating around campus! "

" Your eyes don't deceive you. He really is real. And an actual monster too, not just a 'weird looking dog', as those funny human legends say... "

Navigation:

R. Rosehearts - T. Clover - C. Diamond - A. Trappola - D. Spade - L. Kingscholar - R. Bucchi - J. Howl - A. Ashengrotto - J. Leech - F. Leech - K. Al Asim - J. Viper - V. Schoenheit - R. Hunt - E. Felmier - I. Shroud - O. Shroud - M. Draconia - L. Vanrouge - S. Zigvolt - Silver

Messy design notes:

I have mixed feelings over his design. On one hand, the outfit itself looks cool... and on the other hand it turned out to be nothing like what I had envisioned in the beggining 😭 I wanted to stick with muted colors, in the vibes of that pic next to howleen's I guess, but it's like Ruggie's design had a mind of its own, and would always lean to more punk-looking no matter how hard I tried to avoid it, which don't get me wrong- punk style does fit him well, the problem is that I had it reserved for another character already, and I wanted to repeat themes as little as possible between entries of this project.. that just may be my perfectionist side speaking though, and there is no reason why I shouldn't post this version here for the time being! If I don't get tired of working on this series by the time I finish all the main cast's designs, then I suppose I could try to make an alternative version of Ruggie with a slightly different theme! I'd do the same with Jamil's entry since he is yet another character I have mixed feelings about the design lol

Aaaanyway, the mood for chupacabra Ruggie is grunge/thrifted fashion with diy details he would add to make his looks feel unique to him I think? The spikes on his skin, although he can partially control (?) them, still get stuck on cloth every now and then. Nearly all items of his closet are a bit torn from it, but he doesn't mind all that much. I got no particular designs for the pins and badges he wears, maybe except for the brazilian flag and the trans pin which I rlly wanted to include somewhere on his clothes whsdbdshewbdi

The chupacabra's appearance vary from place to place, but for this, I based his looks on how I personally grew up hearing and imagining this creature to be like! Baisically a fucked up looking dog, sometimes with spikes and scales on its body? Yeah 👍

And he remains the same personality-wise in the AU, pretty much! At the moment I can't think of many fun facts or character quirks for him, aside from how impossible it is to take a selfie with him, much to Cater's dismay. He swears he doesn't do it on purpose! The moment the camera clicks his body moves on its own to be out of frame. Ruggie's entire instagram (or whatever the monster high equivalent of that may be) account are either pictures of a moving blur or a vaguely distinguishable sillouette of him, taken from far away and zoomed in 10x

I think that's all I remembered to say? Here's a Ruggie core meme I found on reels as extra content lol

[raven-at-the-writing-desk]

In what ways would you change Yuu (or would you get rid of them entirely)? The writing feels inconsistent on their place/importance. If they were just a conduit for the player to watch the events unfold that's one thing but in another story they are an active player.

I'd personally play into the beastamer aspect more. They are supposedly the reason why Ace, Deuce, and Grim were able to work together thus I'd want them to have more agency in making plans, giving orders, etc. Rook calls them Trickster but in what way (lol). The vagueness of being a self insert pains me. I'd also want to give them some magically infused weapon (or has a magestone embedded) just so they aren't fodder or sideline material.

Mmm… As much as I dislike the blank slate self-insertiness of Yuu (I’d prefer to read about an actually realized character), I wouldn’t want to get rid of them altogether. I think they’re important for the role they serve in the narrative even if in execution is inconsistent and not done well.

The problem with “changing” Yuu is that there has to be a certain level of ambiguity due to the design of the game. You cannot give them too much personality or you risk alienating the audience that likes to project or self-insert. There’s also a limit to how much uniqueness a mobile game can lend its players characters; the format isn’t exactly known for having super in-depth player arcs, it’s known for their colorful casts of rollable characters. The devs have to toe that line carefully, not to mention juggle Yuu’s participation with letting the other characters shine. It is for this reason that I won’t be doing a total overhaul of Yuu or just deciding “give them a personality!” as what I’d change about them. Rather, I’ll be proposing alterations while thinking like a dev (ie preserving the current story and as much of the self-insertiness as I can while also trying to give Yuu more to do/say).

Now Yuu, being the outsider to this world, is perfectly poised to have others dump exposition on them. This serves the dual purpose of being able to diegetically explain things to the player. (We wouldn’t get this advantage if the player character was changed to be like… a Twisted Wonderland resident; you could explain some magic things to a layman, but a resident wouldn’t need more common knowledge like country names exposited to them. Were this the case, we’d need an additional excuse for Crowley to take in a native.) It’s also convenient to have them be the “eyes” for the player to experience the world through, since Yuu is able to conveniently be present for most major main story events. It essentially makes them a human-shaped video camera.

I’ve often heard people suggest that if we need a POV character, why not go with Grim since he basically serves the same purpose now anyway. My answer to that is: Grim is also an arrogant asshole who picks fights, just the same as any other NRC student. If Grim were the player character, he wouldn’t be contributing much or helping to guide the other students learn to get along. We need Yuu here to be that driving force for change because Grim simply isn’t capable of it when he’s instigating himself half of the time.

A smaller thing about Yuu that I love is the idea of them being the school photographer! (This is something that is shown in the second anniversary animated video too!) It gives us context for the cards we roll and it implies that Yuu is the one documenting these precious memories. I want Yuu to stay if only for this reason.

Personally, I wouldn’t make Yuu a combatant. This is antithetical to their role and I feel would instead work against them (or at least create a scenario where Yuu has to have some level of battle prowess; this impedes on the self-insert nature of them). Sticking a magic item in their hand makes little difference since they most likely wouldn’t know how to handle it in the moment. (Nor would a magicless human even be able to use some of them; for example, a magestone is completely useless to them.) A magicless human with no combat experience is just another liability to account for, not to mention it actively puts them in harm’s way. It might be cool in theory, but I think in practice it goes against the very concept of Yuu. They’re meant to be here to show that there is “another way” to the NRC students—that violence doesn’t solve all your problems, proof that you don’t need to be a powerful being to “change” others or the world around them. They’re supposed to be underestimated and not seen as much of a “real” fighter, and they’re supposed to prove those notions wrong by demonstrating their worth via other avenues. In this “the weak obey the strong” school, Yuu has to be the one to show them that strength comes in forms that are NOT magic power or battle prowess.

I feel that Yuu works best on the sidelines as a supporter and strategist. Strategy is, after all, half of the battle, and it’s a part that people tend to overlook in favor of the flashier fighters. But strategy is crucial and it can turn the tide against a formidable foe (as we see in the prologue)!! I think this is something the NRC students need to be made more aware of too, so Yuu should stay as the strategist; they just have to be given more opportunities to show off those skills!

With all of that being said, here is what I would change about Yuu:

Drop the beast tamer thing. It gets mentioned prominently like once in the prologue and then never becomes truly relevant. Maybe it’ll become important when it comes to taking down OB Grim, but that will be SO late in the main story that the payoff doesn’t seem worth it. There are no examples of Yuu’s beast taming skills ever being used in the main story, so the whole “oh you have the makings of a beast tamer” thing is so useless. If you really want to keep it, then let Yuu’s innate talent/skills for beast taming help them out at least once per main story book. This means I’d want to see instances of Yuu getting other creatures (ie not just Grim) to help them out.

Allow Yuu the agency to act on their own when it comes to finding a way back to their own world. Going home is so often relegated to a single line or a few sentences and then not addressed again until next book. Have Yuu take initiative instead of waiting around for updates from Crowley. They should go out and ask questions, investigate on their own, etc. Maybe have them get involved in each book’s conflict because they happen to get mixed up in it while conducting research instead of being TOLD to go and fix a problem. Book 6 marks the only real time I can think of Yuu making a drastic decision against Crowley’s advice. It puts them at great risk, and that’s something they’re willing to take for the sake of saving their friends. We need more moments like this throughout the rest of the story. However, Yuu won’t be allowed to do whatever they want unrestricted because 1) it falls out of the scope of a mobile game title and 2) we want to largely retain the capacity to self-insert. So when I say give Yuu more agency to act, I mean it ONLY in the sense of being more proactive in their efforts to get home.

Add a short comment or two from other characters depending on which dialogue options are picked for Yuu. It would be too ambitious to incorporate a full-on branching storyline or strong “choose your own adventure” elements, but at least have the other characters consistently comment on whatever brief dialogue option Yuu has rather than ignoring them 90% of the time. This wouldn’t alter the story in any way but it sure would be nice to have a little more flavor text and more of Yuu actually being acknowledged as present.

Yuu should fully commit to being a planner and strategist. We get to see this aspect of Yuu like once or twice in the prologue (when they tell Grim where to spit fire at the ghosts/planning how to beat the Phantom in the mines) and then are left to extrapolate this to the rest of the game. Maybe you can argue they figured out Azul’s scheme in book 3 too, but this isn’t good enough. If you’re going to set up the idea, then have consistent segments in each book that reinforces that idea. Have Yuu brainstorm ways to jailbreak in book 4, have Yuu be perceptive enough to notice that Malleus isn’t feeling great in book 7 (only for Malleus to brush them off/insist he has a solution), etc.

Have a short story segment that explains how or why Yuu earns their nickname “Trickster” from Rook. We got this with Floyd, so the other known nicknamer should reveal this, especially since the name “Trickster” implies intelligence and cunning. Yuu should have an opportunity to demonstrate this (in book 5 maybe?), which earns them Rook’s respect and the new title. This should also be informed by other parts where Yuu shows how smart they can be.

More time bonding with Grim. I say Grim specifically because I commonly see him as a hated character in part because of how he “steals lines/time” away from Yuu. (Adeuce and Malleus are fine as they are because the former already stick up for/help Yuu out and the latter is meant to stay mysterious until late in the main story.) This means that if you don’t already like Grim, the whole “Yuu chases them to Styx HQ to save Grim” plot point in book 6 rings hollow. To truly build a bond with Grim, please give us moments prior to book 6 that show how much they care for one another and are linked to each other as partners. Times when Grim causes inconveniences for Yuu don’t count. Give me instances of them cuddling at night or talking to each other about their hopes and dreams or whatever. This would establish the value that Grim sees in Yuu, as well as the value that Yuu sees in Grim. It makes it more believable that Grim would cry when he’s alone or realizes he hurt his partner, and that Yuu would defy the headmaster’s advice and put themselves at risk to save Grim.

Better incorporate the ghost camera and its usage in the main story. The ghost camera provides an in-universe explanation for gaming meta (ie the card illustrations); in the main story, it’s hardly ever mentioned save for its introduction in the prologue and when Yuu takes a picture of Mickey with it. What should happen instead is Yuu will take a picture of the characters involved in that chapter. This way, it’s a physical reminder of the time everyone spent together and the bonds they’ve developed. It further strengthens the idea of the students learning to get along and Yuu being there to facilitate that while also keeping the ghost camera relevant.

More time where Yuu actually bonds with/“changes” the other characters. One huge gripe I have with the main story is that we’re TOLD that Yuu’s presence changes and improves the boys for the better, that they teach them how to get along. Very little of the actual main story supports this (outside of the prologue). At best, Yuu has a very short chat with some of the OB boys at the end of their respective book. Yuu should have a little more time in this regard. I don’t know, maybe Idia is still struggling to socialize when he comes over to play video games at Ramshackle so Yuu has to gently encourage him to give it a try or says something to help include him in the conversation. Little things like that! Keep the strong interactions the other characters have in changing the OB boys (like Trey being the one to rush to Riddle’s side, the twins teasing Azul, etc.), but have Yuu help facilitate them opening up emotionally and being vulnerable with one another.

This last point is debatable (I keep changing my mind about it), but possibly make a point of showing how Yuu is adjusting to this new world. This honestly might mess with the self-insert aspect (which is why I debated to leave this out), but I also feel like it might be interesting to reinforce Yuu’s desire to go home h demonstrating homesickness or issues with settling into Twisted Wonderland.

To summarize, the changes I’d make largely involve making TWST commit to briefly mentioned details (that they largely don’t follow through on) and making Yuu actually do a little more to warrant crediting them with resolving issues + fostering friendships. A lot of the problems that exist now are due to promising a lot but then poorly executing on what was promised.

[pankiebogs]

ii16 spoilers under cut

(Analysis of what the episode implies/means for Fan more specifically)

HELLO. SO. I kind of predicted this.

These are specifically about Fan glitching in episode 14, and about PEOPLE OVERLOOKING IT!!! I always KNEW there was something more to it.

Fan glitching is both similar to Springy's glitching, but also the Shield and Tree Mephone made. So automatically I thought, Mephone generated Fan. He can generate things! But, I honestly did not expect this to be true. It felt too easy. (so i instead went with; when mephone regenerates the contestants they are "built" out of his code, so close at least....?) But. Well. You saw the episode. And I am a sucker for these tropes and I have been incredibly interested in what this means for Fan specifically, considering he was made SPECIFICALLY to be a fan of Inanimate Insanity.

Here's me talking about the idea about a month ago:

As we all know, Fan's entire character is that he's a fan. That's the number 1 obvious thing. He was another "stereotype" as labeled by Mephone along with the other season 2 newbies. For almost every character it has been repeated that they are "more than what they are", which makes even more sense with the reveal. However, with this knowledge... What the Flip does this mean for Fan.

His entire arc has always been about his identity problems, and his extreme attachment to his identity as the #1 fan, which he STILL latches onto and puts so much of his confidence in. Almost like that... IS his purpose. Is everything he's ever known. All he had. But that was not only an emotional thing, he was quite literally created just to be the biggest Inanimate Insanity fan. That's his ACTUAL purpose. WHICH IS NOW MAKING ME CRAZY.

With this in mind, you realize how Fan being created is actually hidden in his arc. The writing doesn't make you consider the possibility, because the arc and personality work so well to hide it. This is shown most well once the prime shimmer asks him what he is beyond the show, to which he hesitates to respond to, saying he doesn't know. This whole scene is now in a completely new perspective to me. He ACTUALLY doesn't know. His identity literally IS built around the show, that's what he was made to be. That's all he's ever been.

I had mentioned Fan having parallels to Bot.

Something along the lines of this. Your identity being One Thing but then realizing you can be more than that, that's the main parallel here. WHICH- IS EVEN MORE INSANE CONSIDERING THIS EPISODE NOW. Fan was ALSO made with a purpose to be ONE thing, Fan (and Test Tube) was quite literally repeating the same thing Mephone did- the same thing that happened to them, but even more so with Fan specifically.

The one thing I keep thinking about is how Inanimate Insanity is still a big part of Fan's life. That's still something he loves so much and ties to his identity even with his development of trying new things. How would he react when he realizes he's forever tied to the show he was made to love? That he's forever attached to Inanimate Insanity, no matter what?? HE WAS MADE BY MEPHONE, THE HOST OF HIS FAVOURITE SHOW THAT HIS ENTIRE EXISTANCE IS FOR?? THAT HIS LOVE IS GENERATED? Compared to other contestants, Fan is... even more stuck in the show. He literally surrounds himself with it even when outside of it. Honestly was Mephone projecting when he created Fan or something???

Fan describing him being eliminated as literally dying is kind of even more tragic now. sad!

His whole reality would be shattered if he found out. I don't think he'd have time to think: "wow I'm actually EXISTING for Inanimate Insanity and that actually IS my purpose? and I AM truly the number 1 fan because that's what my entire identity actually IS built on????" While that would validate him and help his insecurities, Fan would be. Well. When your entire person is created to be passionate and dedicated to the thing you were created FOR and you even made prior appearances JUST to serve as the fanbase and nothing more. I don't even know dude. He'd be in so much denial over it. He'd start to question the sincerity of his love, or, something. At least he's made with the things he loves: creative passion. Which he was also made to love . but whatever,

You'd probably think he'd at some point try to separate even more from Inanimate Insanity. Honestly I think the opposite. after his initial denial i believe he'd latch onto it even HARDER. I think he'd just start regressing to old coping mechanisms to deal with it.

The fact he was created FOR the purpose of being ONLY THE FAN Also makes me realize something about him and Test Tube. On one of his tumblr posts he mentions how Test Tube introduced him to so many new things and ideas he had no idea he could be so excited about, because he's always been just tied to Inanimate Insanity and nothing beyond that, as he felt there was nothing else to care about. Test Tube offers the support of opportunities, even as early as when they first met, and especially in Hatching the Plan once she made him realize there was more out there.

It just makes me go completely insane how most of Fan's arc is so built on the fact his entire existence is to serve as a fan, and that wasn't even just an emotional thing or whatever he quite literally felt like he was nothing but a fan. I need to sit down. or draw art inspired by this cause good god. Hey fan you're basically made from technology the thing you really love! haahaa... at least that love comes from a real place right? I mean. In short. Fan is just... made out of what he loves.

[targaryenluvs]

MAKE YOU STAY / EDDIE DIAZ

PAIRING: Dark!Eddie Diaz x Fem!Reader

SUMMARY: Your attempt to leave Eddie won’t work, because he won’t let them, or you.

WARNINGS: Obsession, guilt trip, jealousy, possessiveness, sexual content, manipulation gaslighting & entrapment.

WORDCOUNT: 2.3K Words

A/N: Happy season 7 launch!! I got inspired slightly by @megalony and her new Dark Evan series go check it out!!

Gif not mine, credits to the owner!

Life with Eddie use to be everything you could ever dream of. Whether it be slow mornings getting ready together, sharing a shower and helping Chris get ready. Or an absolute hurricane ripping through your home whilst the three of you stumble over each other to get ready after a sleep in.

No matter the time of day, you loved whatever you were doing, as long as they were by your side.

And Eddie’s protectiveness use to be just another aspect of your relationship you loved, until you opened your eyes.

It use to be small, his anger.

An incessant colleague reaching out for tips and aid in a new project, you being a senior member meaning it wasn’t uncommon for people to reach out to you. You were one of the best workers at the company, well respected and loved as well as brilliant. And always willing to help someone in need.

He use to love that about you. Until it followed you home.

Chris was currently at a friends house, leaving the two of you to an inside date night, “Now on what planet would I ever sit and watch four movies with the title ‘Die Hard’. You sure as hell can’t die that many times.” Eddie shook his head as you refilled each of your respective glasses.

“Sure you can, just ask Chimney.” You gasped before swatting Eddies arm, “Be nice! And put on our show.” The murmuring voices of your favourite characters was more than enough to lull you into his arms, content washing over you. Your ringing phone however, was ready to disturb the peace Eddie had longed for all day.

“Let me just grab this.” His hand scooped your phone up before you could, “Just get it later.” His dismissive tone made you frown, “Give me my phone, please.” You leaned over to snatch it, walking into the hallway. Eddie couldn’t help but massage his temple, did you seriously chose a phone call over peace and quiet in his arms?

He hadn’t noticed how often you picked up your phone, until it interrupted him. It happened often. When the two of you were cooking together, soft music and ambience long forgotten. Almost falling asleep, cuddling, and out of the blue the world was falling apart without you. Eddie thought he could handle it, you were needed, that wasn’t your fault, right? But what he also couldn’t handle was the secretive nature.

Why did you always walk away? Were you hiding something?

And now you were coming home later, clanging into the house at 11, or 12. Sometimes even later. “Where were you?” Eddie stood by the door as you hung your jacket, “Jesus, you scared me E.” His arms were crossed, shoulders tense as you made your way to him, a smile too wide for his liking. “Work ran late, m’ sorry.” As you walked away, his hand caught onto your wrist.

“Ow, let go.” Eddies grip loosened as you retracted your arm, soothing it, “What is your problem?” You looked up to view a sweet smile, “Nothing, just worried about you. When you didn’t call, I got so scared. This world, it’s scary Y/n, you know that, especially during these times.”

Your eyes watered involuntarily at his saddened demeanour, “Oh Eddie, I’m so sorry, I should’ve called. That’s my fault, forgive me?” Your arms came around his neck, before trailing down to his chest, playing with his name tag. “I forgive you, I can also think of a way you can make it up to me.”

His smile was mischievous, and intentions impure. “Oh? And what would that be Mr Diaz?” His hand was heavy on your back and slithering lower by the second, “I think we have an appointment with a bed tonight.”

“I have work tomorrow, so do you.”

“Cmon, for me?” His eyes were pure evil, and you were more than happy to give in, even if you were tired. Really damn tired, but he wanted you, so you should give in right? You did give him a fright. “Take me away Diaz.”

If you’d noticed the signs earlier, maybe you could’ve gotten away. His jealousy, when it did rear its head, was an ugly shade of green.

A late night, again.

Eddie had been by the door for 10, sitting for 20, pacing the kitchen and stress-eating for another 10 before he finally settled into bed. Wide awake of course. The opening of his bedroom door caused him to stir. He watched as you slowly moved around, placing your stuff away, putting your phone on charge and then changing.

He sat upright as you yelped, “Eddie! You scared me, again! Why are you sitting in the dark?” His face was drained of warmth, skin cold to the touch. “Was waiting for you, again.” You frowned at his words, “Baby, you know I’m late these days. Better for you to go to sleep than wait up.” He shook his head, burying his head into your stomach as his body relaxed. Your hands raked through his hair gently, “I think you should consider working from home.”

Your hands stopped in their tracks, working from home? The last time you worked from home was during lockdown, and you’d driven yourself half mad. “Why is that?” Eddie glanced up at you, “You’re barely home, Chris misses you, I miss you. Don’t you want to be with us?” You took a deep breath in before smiling, “Of course I do. I- I’ll see what I can do baby.”

His hands quickly dragged you into bed, “Knew you’d understand amor.” Eddie rested his head in the crook of your neck, his hands slowly making their way underneath your shirt.

“Sweetie, I’m tried.”

“I missed you.” You relented, letting him continue. It seemed to be all you were doing these days, bending backwards and over to please him, literally.

The first time you noticed his behaviour was also when you realised you needed space. Not that he’d give it to you. A new coworker, Harry, had invited not only yourself, but your friend Aleya and Jack out to lunch.

He was a nice guy, very eager to learn and never scared by a little constructive criticism. The only problem was probably his overbearing cologne, very pungent? Intense?

You’d also been driven to work that day, courtesy of your boyfriend. You were working shorter days now, completing about an hour or two of work at home now. It had taken some adjusting, after a few forgetful days and about a million texts from Carla with an impatient Chris at home waiting for you.

You spotted Eddies truck pull up as you wrapped up your conversation with the your three lunch goers, “And that’s me, I’ll see you guys on Monday. Thank you so much for lunch!” You reached out to Aleya for a side hug, the same for Jack and a normal hug for Harry. “Tell Eddie there’ll be a fire at my house later tonight, and he better bring Evan!” Jack joked as you waved him off.

Jack may or may not have a huge crush on Evan.

You hopped in, quickly chucking your purse and files into the back seat before kissing Eddie on the cheek. “Hi! How was Chris’s school?” Eddie shrugged his shoulders, “Fine.” Your eyebrows furrowed at his shortness, “Something wrong?” He turned onto the highway, knuckles tightly gripping the wheel, “You smell like him.”

“Like who? Harry?”

“That his name?”

You rolled your eyes, “No, it’s actually his father’s, middle name Jesus. Care for some wine Eddie?” Not once, had Eddie ever been physical. But raising his voice? Oh that was fair game.

“You think you’re funny huh? Having lunch with other guys and taking the piss outta me?”

“Nothing happened baby, it was lunch. He’s new and trying to fit in and I’m being nice. There’s nothing to worry about I swear.” The silence permeated in the truck, causing the hair on your arms to raise. You hated the silent treatment wholeheartedly.

“Whatever.”

His change in demeanour could flip like a switch, you always assumed it was him putting up a front. But when Eddie showed up the next day, flowers in hand and looking his sharpest, you were forced to reevaluate. “God I wish my boyfriend was that sweet.” Your project partner whispered as you sighed, “That’s Eddie.”

Even your boss wanted you to go with him, “Take the day off sweetie, you deserve it.” And with a pat on the back and a million swooning interns drooling over Eddie, you were sent on your way.

“I got these for you Y/n/n.” Your favourite flowers, arranged perfectly and smelling divine. Your hands wrapped around the bouquet, “Thank you Eddie, they’re perfect.” His smile caused your heart to race, he looked amazing. The Eddie with you that day was incredible.

His infectious laughter, perfect smile and the sweet nothings he whispered into your ear. That, was the Eddie Diaz you knew and loved. A gentleman, who had eyes for only you. Which is why you couldn’t help but wonder, what made him change? How was it possible to go from absolutely furious and unnecessarily jealous to an angel?

You didn’t want to know, and you didn’t want to stay around long enough to find out.

Maybe it was the date, or the fact that you felt as if he deserved an explanation face to face. Either way, if you’d known better, you would have made it away.

“Eddie, we have to talk.” The two of you were currently sitting on the couch, favourite show playing in the background. Eddie hummed along, a slight acknowledgment to your words. “It’s, about us.” Eddie turned the volume down, your sentence piquing his interest.

“What’s wrong?”

“I think, we should break up.”

And with six words, Eddies entire world came crashing down in front of him. What on earth were you talking about? “What did you say?” The smile on Eddies face was anything but sweet or reassuring, a bad attempt at keeping his composure. “You’ve been acting, odd, to say the least.” You stood from the couch as he followed in pursuit, all the way to the kitchen.

“I feel like, all that we’re doing lately is either fighting or sleeping. Every time I come home, you have something to say. Whether it’s about my later nights, about who I was with or what I’m doing on the phone. It’s like I have no privacy at all. I cannot keep a single thing to myself. And if I try to? You blow up at me. I mean last week for example, I tried my hardest to not argue with you by walking away. And all you did was follow me around the house, it drove me crazy. Showing up to my workspace when I tell you I can get more done without random lunch dates. I’m a grown adult but you treat me like a child. And if I stand up for myself I’m cheating. It makes no sense at all Eddie. And I tried to make it work, but I feel like you’re controlling me. I even reduced my hours, because you asked. I moved in even when I wasn’t ready, because you asked. I need a break.” You took a deep breath after your monologue, needing a second.

Turning towards Eddie, he stared straight at you. “I had no idea you felt that way baby. I’m so sorry, I never meant to do any of it. I love you so much, I can’t help but worry. After everything we’ve been through with Shannon,” And there it was, the guilt. It was blinding, clawing its way through you. Shannon. He’d already lost someone he loved, and Chris lost his mother. No wonder he was always to protective over you.

“Hey, I’m not leaving like Shannon okay? What happened was a tragic accident, and I promise nothing like that is going to happen again Eddie.” You immediately engulfed in a hug, his head resting against yours, “I don’t want to loose you, I don’t want Chris to loose you.” Eddie muttered repeatedly as you closed your eyes.

Chris walked into the room, thirsty, tired and curious, “Is something wrong?” You immediately detached yourself from Eddie, wiping away your tears, “Nothings wrong sweetie, did you need something?” He nodded before turning around and walking to his room, “We’ll talk later yeah?” Eddie whispered into your ear before moving ahead.

Sniffles came from underneath Christopher’s blanket, “You alright buddy?” Eddie asked, patting his hair down, “Water.” You watched as Eddie swiftly made his way to the kitchen whilst you sat down, “You need anything else?” Chris’s hand slowly lowered the blanket before smiling your way, “No thanks mum.”

And as quickly as he spoke, he turned over to sleep again. Your eyes were probably protruding out of your head, shock filling your senses. “Mum?” The word sounded foreign on your lips, but apparently comfortable enough on Chris’s.

“He called you mum.” Eddies voice was low, most likely as astounded as you based on the look on his face. You got up slowly, aware of the sleeping boy. You couldn’t help but smile, and kiss his forehead before making your way to Eddie. “I can’t believe it.” Eddies hand came up to wipe away the stray tears before pulling you in and kissing your forehead, “I can.”

“You’re apart of this family baby, always have been.” His words seeped in as he guided you to your bed, whilst you were stuck on autopilot. Chris viewed you as a parent to him, that’s how common you were in his life now, a constant for him to fall back on. He loved you, almost as much as you loved him. Your words weren’t forgotten just swirling in your head, how the hell could you ask for a break now? With this new huge responsibility?

Eddie knew, of course he knew. He was the one encouraging Chris to call you by your new name. Because if there’s one thing Eddie knew he needed, besides Chris?

It’s you, and he’d do anything to make you stay.

[artistshadow]

OK. I’m going to give my two cents on the whole Carlos/Cameron Boyce tribute in the rise of red film. Now this might ruffle some of y’all feathers but at this point I really don’t give a damn, some of y’all are low-key getting on my last nerves and have been ever since they announced that they were doing another descendants film and y’all wanted to bitch and complain about how this was not honoring his memory or legacy or whatever else bullshit y’all wanted to spew. I think how they went about doing it was very respectful and in a good way. I’ve seen people on Tumblr (particularly this one person🙄) say that they hated it and they didn’t like how they did it and they wish they would’ve just said that the character was off somewhere else. Listen, there is no right way to do these kinds of things when an actor or actress passes away and whatever projects they were a part of continue on. There is no EASY way to handle those situations. Because no matter what they do, someone’s gonna find some kind of problem with it. Whether they kill the character off or they recast the character or they say the characters off somewhere else but at the same time that doesn’t mean they need to stop doing those projects or anything involving those projects. Take Glee for instance (Cory), Black Panther: Wakanda Forever (Chadwick). As long as they try to be respectful and try to find a way to honor that actor or actress I don’t see a problem. And to be quite frank with some of you, the only people whose opinion on this that actually matters is Cameron’s family who pretty much gave their approval for this. So as long as they’re OK with it, that’s it. So whatever else shit y’all keep saying that should be stopped and that’s the end of the discussion. And if you still have problems with it, (and feel free to take the offense) you can take your opinion and go straight to hell

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 琅琊榜/Nirvana in Fire.

Nirvana in Fire is a 2015 historical series best described as either a complicated succession drama set in the premodern Chinese imperial palace, or the story of a man who didn't die a decade ago and has decided to make it everyone else's problem.

And really, I almost feel silly giving my glib little summary, because Nirvana in Fire is so well-known of a property. It's a classic for a reason, and that reason is that it's legitimately very good. This show is what happens when you adapt a solid story, get a bunch of very talented actors, and throw a huge amount of money at it. It's incredibly popular and highly acclaimed, and it earned all of the hype.

Still, while I bet there are few people adjacent to c-drama stuff who've never heard of Nirvana in Fire, I'm sure there are plenty who haven't watched it. After all, it looks like one of those slow, serious shows with a lot of ponderous talking and no joy. If that's the impression you've been given, I could imagine looking at the 54-episode commitment and saying, I don't need that in my life.

I am here to tell you you're wrong. It is a banger of a show. It's tense. It's funny. It's heartbreaking. It’s exceptionally clever. It’s jaw-droppingly stupid. It’s romantic. It’s tragic. It has smart plots and bizarre subplots. And that's not even touching the thing with the yeti.

So in case you're one of those people who's heard of Nirvana in Fire, but has put off watching it for one reason or another, I'm here with five reasons I think you should try it.

1. Epic Shit

Did you like the Lord of the Rings? More specifically, did you really like the second Peter Jackson film? Great, then you're all set for this.

I guess I could have called this Game of Thrones without the dragons, but that's not actually the vibe at all. Game of Thrones is much more sensational and salacious, with all the blood and butts and what-not. The Tolkien comparison is more apt, I think, because Nirvana in Fire is equally about as wholesome as you can get in a property where dudes are still getting stabbed all the time.

This is a show about vengeance. And yeah, justice for the fallen, sure, that's fine too. But mostly it's about a bunch of good people joining forces to make sure the bastards who did wrong pay, with their lives as necesary.

The problem, though, is that these bastards are incredibly powerful, which means that a pure brute-force approach isn't going to work. Accordingly, this quickly becomes a story about the power of smart teamwork to exact retribution on some people who can (and did!) legally get away with murder -- and our heroes are some of the people with their necks most on the line if anything goes wrong.

Don't let the Middle Earth comparison fool you into thinking this is all epic swordfights. It's not. (I mean, for one thing, as well-funded as this project is, it doesn't have Peter Jackson Money.) The vast majority of the tension in the show comes from dialogue and slow, terrible realizations. The fight scenes are almost a relief from the nail-biting intensity of intimate conversations about getting a letter from somebody's ex-wife or returning a book.

All told, the show has that incredible almost-RPG vibe of going through all the little subquests and cutscenes you find along the way to defeat the final boss. The plot carefully unravels a multi-tendriled mystery told to you by people in incredible costumes. It doesn't get much more epic than that.

(Nirvana in Fire is also a cautionary tale about how you should be very careful with who gets invited to your birthday party.)

2. A chronically ill protagonist

Okay, right in the first episode, it is established that the main character has three whole completely different names and an old nickname. I'm going to call him Mei Changsu for the duration of this rec post, but let the record show that I could just have easily gone with one of the other three.

What you learn in that same first episode is that Mei Changsu used to be a palace insider, the cocky son of a noble family, only now nearly everyone he used to know thinks he's dead. Also, he's not far off from being actually dead -- he has an unspecified terminal condition that's mostly managed, provided he stays in his little mountain hideaway with his handsome doctor bestie and doesn't return to his old stomping ground and start kicking over hornets' nests.

So guess what he's about to do.

I have to make a note of how brilliant the casting is here: Hu Ge is an action actor! He is a kickpuncher of a man! And I think it's great that you can sort of see his frustration, as well as Mei Changsu's, at having to spend the whole series wrapped in countless layers of fabric and/or lying in bed while everyone around him gets to be the badass action heroes.

Mei Changsu's not faking it, either -- he's actually dying. He expends his energy where he thinks it's necessary, and sometimes that means he has to spend the following week in bed. He's constantly frustrated with himself for what he can't do anymore. He's racing a clock, and that clock is his own failing body. If he dies, the only hope anyone here has for justice dies with him.

He gets two love interests that the show treats pretty much equally. One's a lady general who wasn't even a love interest in the book. The other's the handsome prince who was initially going to be his textual romantic partner in same book, until the author hopped genres from danmei to general historical drama. I can't even call this a love triangle, because there's no competition. He just gets a wife and a husband -- in that he gets neither, because circumstances and his own illness keep him distant from them. He lies to both of then about his condition (among other things). He wants to be with them both and knows he can't be with either. And they in turn have to learn to accept what of him they can and can't have.

(Also, Nihuang (her) and Jingyan (him) are both incredibly gorgeous, which is exactly what bisexual genius Mei Changsu deserves.)

Obviously this isn't a perfect representation of life with chronic illness, largely because Mei Changsu is an incredily wealthy man who lives in a universe with what's basically magic medicine. However, I've seen the story's treatment of him and his condition resonate with a lot of chronically ill viewers, so even with the fantasy layer on it, there's definitely something there.

3. Dave

I have already told the story of how Meng Zhi became "Dave," but long story short, he's such a Dave that I legitimately forget his character's real name. He embodies Daveness. He's The Ultimate Dave.

Dave is an excellent fighter, a loyal friend -- and a terrible liar. He's possbly the only straightforward character in the entire show. When he's asked to be duplicitous, he's comically bad at it. Dave will never do a heel turn. I was misled at first by his semi-evil facial hair, but I have seen the error of my ways. Dave is pure lawful good.

And the reason I list Dave as such a selling point is that having a Dave means you always know what's going on. This is because Dave never knows what's going on, and he has no ego about that, so he asks questions, and other characters have to explain to him what just happened, and that is how you figure out what's going on.

It's an incredibly smart move on the drama's part, because some of the (very fun) schemes are so complicated that there's no way for you, the viewer, to understand them just by watching. Without the internal monologues and omniscent narration of a book, the machinations are opaque. You need things explained -- but why would the schemers explain their schemes? Well, Dave needs some exposition, so here you go.

So if you're worried that you might be left feeling stupid by a show where so many sneaky people are hatching so many complex plans, worry not! Like the good man he is, Dave has your back.

4. A Million Amazing Antagonists

If you like bad guys, this is a show for you. This show has brilliant bad guys all the way down. It has bad guys at every turn. It has bad guys for every taste. Welcome to Big Liang's Big Bad Guy Emporium, where we guarantee you'll walk out of here with a bad guy you like, or your money back!

(And yes, this set of pictures is also to say that their costume budget was entirely well-spent.)

Without getting too far into spoilers, I will say that the basic situation underlying the whole series is this: The emperor has done a lot of bad things, and he has enlisted a bunch of people's help in hiding those bad things, so much so that many of those other people have done even more bad things the emperor didn't even know about -- and then everyone has gone to great lengths to cover those up as well. Our protagonists spend the whole series unraveling this colossal shitshow and bringing people to task for their crimes.

So really, if you're going to spend 54 episodes taking down the baddies, they've got to be baddies you love to see taken down. And these are -- in part because all of them have crystal-clear, rock-solid motivations for their actions. Nobody here is a moustache-twirling comic-book-villain baddie. They're all bad for reasons that are very understandable in their individual contexts. And not a single one of them is going to go down without a fight.

5. World's Best Mom

(Sidebar: The fact that four out of five of my reasons to watch the show are individual or groups of characters should be your strongest indicator that this is an intensely character-driven story.)

This is not a Dead Mom Show. Okay, some moms are dead, but mostly this is a Moms Are Alive And Often Cause Problems Show, which is a lot of what makes the palace drama so delicious. But there is one Good Mom who stands out above all the rest: Consort Jing.

Played with perfect grace and devastating politeness by the stunning Liu Mintao, Consort Jing is a skilled doctor and excellent baker who starts the show with a low-level status among the women of the palace. She swallows down all kinds of mistreatment because she's not in a place to oppose it -- and when she can retaliate, it must only be through soft power. She loves her jock son with all her heart, but because of both their relatively poor positions in the hierarchy, she doesn't get to see him all that much. She wants to be an asset to him, while all the time she has to fear becoming a liability.

She is also the smartest person in any room that she's in, unless she's in a room with Mei Changsu, and even then it may be a tie.

There are lots of great characters in the show that I could have highlighted here, and plenty of them are women, but Consort Jing in particular never ceases to impress me. She is trapped in a gilded cage, married to a man who [lengthy list of spoilers that are traumatic to her in particular], and held hostage by how every time she even looks like she's out of line, it puts both her and her boy in danger. She's the most vulnerable of any of our good guys. Kind of like Wang Zhi, she's got to be clever or she's dead.

Consort Jing is not part of Mei Changsu's original plan. She figures out his plan and makes herself part of it -- and entirely remotely, as she and he aren't even in the same room until episode 40 or so. She puts herself in great danger to make sure he succeeds, not because it will necessarily do her any good, but because Jingyan needs him. This woman has been captain of the Mei Changsu/Jingyan ship for like twenty years already.

Oh, and did I mention her outfits?

I love you, Consort Mom.

Are you ready to watch it yet?

Get it on Viki! Get it on YouTube! Get it on YouTube but in a different playlist! (And also maybe get it on Amazon? Not in my region, but maybe in yours.)

I will warn you that it does take off running -- I think I saw someone say it introduces nineteen characters in the first episode? I was worried that I'd be too innundated by situations and flashbacks and names to be able to follow. By the second or third episode, though, I was rolling with it. So if you feel like you're struggling at the beginning, stick with it a bit. See if you don't feel it start to click.

...Man, reading over this post has left me going, oh, but I missed that! and that! and that guy! And yeah, the truth is that there are just so many great things about the show that limiting myself to only five (and being limited to only thirty images) was tough. I'm sure that people reblogging will add their own must-see elements.

Truly, this is a show that deserves its reputation. It may not be for everyone, but if this is the kind of thing that you like, it is a shining example of that thing.

Besides, you have to love a production where everyone was clearly having just a whole lot of fun being big ol' costumed dorks.

[writingquestionsanswered]

Stuck in Planning Stage of Writing

Anonymous asked: Do you have any advice on how to get out of the planning stage and more into the doing stage of writing? I’m up to my ears in notes for scenes and fragments of dialogue between characters. I know where I want to go with the story, I’ve even written a handful of scenes when the ideas come to me, but now that I have this lump of thoughts I need to start organizing and placing them all in their rightful spaces. The one thing I truly know is how much I’d love to see this through. Do you have any advice for a girl who’s unwittingly made herself stuck with a puzzle?

[Ask edited for length]

Planning a novel can sometimes be like digging a really deep hole for a specific purpose, then suddenly realizing you've stranded yourself at the bottom of the hole without a ladder. You've spent so much time digging the hole, you'd like nothing more than to get out of the hole and move forward with whatever project required you to dig the hole in the first place. There's just one problem: you can't teleport yourself out of the hole. You have to climb... or, ideally, build yourself a ladder to climb out with whatever materials are available to you.

That's probably where you are right now with your story. The hole you've dug was necessary, and it's good that you dug it, but as much as you'd like to just magically leap out and write your story, you can't do that. You have to build yourself a ladder to climb out of the hole first. So...

My go-to emergency "get out of the planning hole I've dug myself into" ladders are timelines, scene lists, and outlines.

Timelines: Your story may take place over a single day or several centuries, but either way, time flows in your story. All of those notes and fragments of dialogue and partial scenes are moments or events that happen within the time frame of your story. So, plotting those moments and scenes out on a timeline--according to when they need to happen--is about the easiest way to break your story down into its existing pieces and to see what's missing/where.

There are lots of ways you can format a timeline, such as a table, a list, a horizontal timeline, calendar, or a roadmap timeline. My go-to is a basic two-column document where the left column is date/time and the right column is the moment/event. There are also apps and online tools that will help you build a timeline in various formats.

Horizontal Timeline:

Calendar Timeline:

Table Timeline:

More info: Making a Timeline for Your Story Scene Lists: Stories are made up of scenes, so a list of those scenes is another great way to organize the events of your story. You may even find that creating a scene list is easier after making a timeline, because a timeline may help you see where certain moments or events need to be their own scenes and which can be combined together into a single scene. Just like timelines, scene lists can be as simple or complex as you want to make them. Once again, my go-to is a simple two-column document with the left column for the scene number and the right column for the scene summary, preferably just a sentence or two. Ultimately, once I have my rough timeline and scene list done, I usually combine them into one multi-column document along with my story structure beats.

Table Scene List with Beats:

Complex Scene List/Timeline/Beat Sheet:

More info: Scene Lists

Outlines: Outlines can be really any format you want them to be, and some people count timelines and scene lists as their outlines. My go-to outline is just an exhaustive beginning to end summary of everything that needs to happen. Sometimes, just working through your story from beginning to end can be the best way to make sense of all those disparate pieces you've been piling up.

More info: Guide: How to Outline a Plot Story Structure: Finally, I want to talk a bit about story structure templates like Save the Cat Writes a Novel!, Larry Brooks story structure, seven point story structure, etc. Story structure templates can be a really great way to make sure you're hitting all the right story beats--almost like a road map through your story. It's just important to know you do not by any means have to stick to any particular story structure exactly. Use it as a guide, take what works, leave what doesn't, and don't panic if your beats don't fall exactly where it says they should. As long as your story is working, that's what matters. Some writers even like to frankenplan their stories using a variety of different structure templates.

More info: Creating a Detailed Story Outline (story structure)

Once you finally have a roadmap for moving forward, whether that's a timeline, scene list, outline, or all of the above, you know you're ready to start writing!

Final note: I just want to add that planning isn't for everyone. Some people are discovery writers who let their stories work themselves out as they go. The above is just meant for people who are planners, who have done a lot of planning, but need to pull that planning together into a cohesive, organized document. And... if you have all of the above and still find yourself unable to start, you might find help in the links below. Happy writing! More help:

Beginning a New Story Figuring Out Where to Start a Story Deciding How to Open Your Book How to Move a Story Forward Trouble Getting Started Have Plot, Can’t Write

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[virgo-79]

I'm disappointed and sad and pissed, for sure. But there are some things that are keeping me from being totally devastated. There are things that give me hope for what might be to come.

David Jenkins confirmed that the industry took notice of our campaign. We saw the articles and interactions that confirmed people were taking notice of our campaign. And we got new eyes on the show. Whatever else it's up against, future queer media can only be helped by that.

Maybe at some point we actually will get an on-screen continuation of OFMD. Again, from David's mouth, the lack of pickup is down to an industry in chaos -- not a lack of interest in the show. Obviously that industry chaos is a problem, and for a bigger reason than just this one show. But this transitional period also means there's an opportunity for change, and that's why I think we need to keep being vocal about OFMD, about WB and MAX, and streaming in general. Keep the action and conversation going, both for the sake of influencing the direction the industry goes in, and for showing that interest in OFMD isn't waning. Because there's always that chance that once the dust settles, there will be at least one platform in a position to bring OFMD back. Giant companies aren't suddenly going to grow souls, but they'll look out for their own interests. All we need is someone to decide that those intersect with ours. We've come to the end of the road, yeah, but there's always another trip to pack for.

And finally, I think it's HIGHLY possible we'll get another show by David Jenkins that features Taika, Rhys, and a lot of other OFMD actors and crew. Every single person who has talked about the experience of making this show has absolutely spilled over with love for it. Everyone had a good time, everyone loved what they were creating. Taika and Rhys adored working together again. Taika said being Ed made him fall in love with acting again. All of the actors got to have a hand in their characters' creations. There's so much positivity, respect, and encouragement passed back and forth between the people making the show and the people watching. Which is all my long way of saying that whether it's more OFMD at some point in the future, or a completely different show, I believe strongly that this team is going to work together again and have more stories for us. And I have every confidence that that story will radiate as much love and joy as OFMD. I am and always will be head over heels for the characters and storylines of OFMD. But my delight in them goes beyond the characters to the people who made them, and I'll be there for any project these people collaborate on. I trust them to give it the same heart our silly queer pirate show has.

[zedecksiew]

(Don't) Incentivise Ethical Behaviour

In the ongoing project of rescuing useful thoughts off Xwitter, here's another hot take of mine, reheated:

"Being good for a reward isn’t being good---it’s just optimal play."

The quote comes from Luke Gearing and his excellent post "Against Incentive", to which I had been reacting.

My thread was mainly intended as a fulsome nodding along to one of Luke's points. It was posted in 2021, and extended in 2023 after Sidney Icarus posed a question to it. So it is two threads.

Here they are, properly paragraphed, hopefully more cleanly expressed:

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(Don't) Incentivise Ethical Behaviour

This is my main problem with mechanically rewarding pro-social play: a character's ethical choice is rendered mercenary.

As Luke Gearing puts it:

"Being good for a reward isn’t being good---it’s just optimal play."

Bear in mind that I'm not saying that pro-social play can't have rewarding outcomes for players. Any decision should have consequences in the fiction. It serves the ideal of portraying a living, world to have these consequences rendered diegetic:

The townsfolk are thankful; the goblins remember your mercy; pamphlets appear, quoting from your revolutionary speech.

What I am saying is that rewarding abstract mechanical benefits (XP tickets, metacurrency points, etc) for ethical decisions stinks.

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A subtle but absolutely essential distinction, when it comes to portraying and exploring ethics / morality, in roleplaying games.

Say you reward bonus XP for sparing goblins.

Are your players making a decisions based on how much they value life / the personhood of goblins? Or are they making a decision based on how much they want XP?

Say you declare: "If you help the villagers, the party receives a +1 attitude modifier in this village."

Are your players assisting the community because it is the right thing to do, or are they playing optimally, for a +1 effect?

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XP As Currency

XP is the ur-example of incentive in TTRPGs. It began with D&D's gold-for-XP, and has never strayed far from that logic.

XP is still currency. Do things the GM / game designer wants you to do? Get paid.

Players use XP to buy better mechanical tools (levels, skills, abilities)---which they can then in turn use to better perform the actions that will net them XP.

Like using gold you stole from goblins to buy a sword, so you can now rob orcs.

I genuinely feel that such systems are valuable. They are models that illuminate the drives fuelling amoral / unethical behaviour.

Material gain is the drive of land-grabbing and colonialism. Logger-barons and empires do get wealthier and more privileged, as a reward for their terrible actions.

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If you want to present an ethical choice in play, congruent to our real-life dilemmas, there is value in asking:

"Hey, if you kill the goblins you can grab their treasure, and you will get richer. There's no reward for sparing their lives, except that they are thankful."

Which is another way of asking:

"Does your commitment to the ideal of preserving life outweigh the guaranteed material incentives for taking life?"

The ethical choice is the difficult choice, precisely because it involves---as it often does, in real life---sacrificing personal growth and gain. Doling out an XP bounty for doing the right thing makes the ethical choice moot.

"I as the player am making a mechanically optimal choice, but my character is making an ethical choice!"

A cop-out. Owning your cake and eating it too. The fictional fig-leaf of empathy over a calculated a decision to make profit.

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Sidney Icarus asks a question which I will quote here:

"... those who hold to their beliefs of good behaviour don't feel rewarded, and therefore feel punished. And that's not a good feeling. It's an unpleasant experience to play a game where the righteous players are in rags, and the mercenary fucks have crowns and sceptres. So, what's the design opportunity? How do we make doing the right thing feel pleasant without making it mercenary? Or, like reality, do we acknowledge that ethical acts are valuable only intrinsically and philosophically? I have no idea how to reconcile this."

I would suggest that the above dichotomy---"righteous players in rags, mercs in crowns"---is true if property is recognised as the only true incentive.

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Friends As Property

Modern games try to solve the righteous-players-in-rags "problem" in various ways. Virtue might not net you treasure or XP, but may give you:

Contact or ally slots, which you can fill in;

Relationship meters you can watch tick up;

Favour points you can cash in later;

etc.

How different are these mechanical incentives from treasure or XP, really?

Your relationships with supposedly living, breathing beings are transformed into abilities for your character: skills you can train; powers you can reliably proc. Pump your relationship score with the orc tribe until calling on them for reinforcements becomes a once-per-month ability.

Relationships become contracts. Regard becomes debt. Put your friend in an ally slot, so they become a tool.

If this is what you want play to be---totally fine! As stated previously, games say powerful things when they portray the engines of profit and property.

But I personally don't think game designers should design employer-employee relationships and disguise these as instances of mutual aid.

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Friends As Friends

In the OSR campaigns I'm part of, I keep forgetting to record money. Which is usually a big deal in such games, seeing as they are in the grand tradition of gold-for-XP?

In both games, my characters are still 1st-Level pukes, though it's been months.

I'm having a blast, anyway.

My GMs, by virtue of running organic, reactive worlds, have made play rewarding for me. NPCs / geographies remember the party's previous actions, and respond accordingly.

I've been given gills from a river god, after constant prayer;

I've befriended a village of monsters, where we now live;

I've parleyed with the witch of a whole forest, where we may now tread;

I've a boon from the touch of wood wose, after answering his summons.

I cannot count on the wood wose showing up. He is a character in the world, not a power I control. Calling on the wood wose might become a whole adventure.

Little of this stuff is codified my stats or abilities or equipment list. They are mostly all under "misc notes".

Diegetic growth. Narrative change that spirals into more play.

This is the design opportunity, to me:

How do we shape TTRPG play culture in such a way that the "misc notes" gaps in our games are as fun as the systemised bits? What kinds of orientation tools must we provide? What should we say, in our advice sections?

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A Note About Trust

The reason why it is so hard to imagine play beyond conventional incentive structures has a lot to do with trust.

Sidney again:

One of the core issues is the "low trust table". I'm not designing just for myself but for my audience. For a product. How much can I ask purchasers and their friends to codesign this part with me?

Nerds love numbers and things we can write down in inventories or slots because they are sureties. We've learned to fear fiat or player discretion, traumatised as we are by Problem GMs or That Guys.

The reason why the poverty in Sidney's hypothetical ("righteous players are in rags") sounds so bad is because in truth it represents risk at the game table. If you don't participate in the mechanics legible to your ruleset (the XP and gear to do more game things), you risk gradually being excluded from play.

You have no assurance your fellow players will know how hold space for you; be considerate; work together to portray a living world where NPCs react in meaningful ways---in ways that will be fun and rewarding for everybody playing.

You are giving up the guarantee of mechanical relevance for the possibility of fun interactions and creative social play.

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The "low trust table" is learned behaviour--the cruft of gamer culture and trauma.

When I game with folks new to TTRPGs, they tend to be decent, considerate. I think there's enough anecdotal evidence from folks playing with school kids / newcomers / etc to suggest my experience is not unique.

If the "low trust table" is indeed learned behaviour, it can be unlearned.

Which rules conventions, now part of the hobby mainstream, were the result of designers designing defensively---shadowboxing against terrible players and the spectre of "unfairness"?

How can we "undesign" such conventions?

Lack of trust is a problem that we have to address in play culture, not rulesets. You cannot cook a dish so good it forces diners to have good table manners.

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This is too long already. I'll end with an observation:

Elfgames are not praxis, but doesn't this specific dilemma in the microcosm of our silly elfgames ultimately mirror real-world ethics?

To be moral is to trust in a better world; to be amoral / immoral is to hedge against the guarantee of a worse one.

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Further Reading

Some words from around the TTRPG community about incentive and advancement in games:

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However, the reason there is a big debate about this is that behavioural incentives in games clearly do work, either entirely or at various levels. This applies outside gaming, as well. Why do advertising companies and retail business use "rewards" structures to convince people to buy more of their products? Why do people chase after "Likes" on social media?

A comment by Paul_T to "A Hypothesis on Behavioral Incentives" from a discussion on Story-Games.com

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the structure and symbolism of the D&D game align with certain structures and values of patriarchy. The game is designed to last infinitely by shifting goalposts of character experience in terms of increasing amounts of gold pieces acquired; this resembles the modus operandi of phallic desire which seeks out object after object (most typically, women) in order to quench a lack which always reasserts itself.

D&D's Obsession With Phallic Desire from Traverse Fantasy

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In short, my feeling is that rewarding players with character improvement in return for achieving goals in a specific way impedes some of the key strengths of TTRPGs for little or no benefit in return. 

Incentives from Bastionland

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When good deeds arise naturally out of the players choices, especially when players rejected other options that were more beneficial to them, it is immensely satisfying. Far more than if players are just assumed to be heroic by default. It gives agency and meaning to player choice.

Make Players Choose To Be Kind from Cosmic Orrery

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Much has been made about 1 GP = 1 XP as the core gameplay loop driver of TSR D+D. But XP for gold retrieved also winds up being something of a de facto capitalistic outlook as well. Success is driven by accumulation of individual wealth -- by an adventuring company, even! So what's a new framework that can be used for underpinning a leftist OSR campaign?

A Spectre (7+3 HD) Is Haunting the Flaeness: Towards a Leftist OSR from Legacy of the Bieth

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Growth should be tied to a specific experience occurring in the fiction. It is more important for a PC to grow more interesting than more skilled or capable. PCs experience growth not necessarily because they’ve gotten more skill and experience, but because they are changed in a significant way.

Cairn FAQ from Cairn RPG / Yochai Gal

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Thank you Ram for the Story-Games.com deep cut!

( Image sources: https://knowyourmeme.com/memes/neuron-activation https://en.wikipedia.org/wiki/Majesty:_The_Fantasy_Kingdom_Sim https://www.economist.com/sites/default/files/special-reports-pdfs/10490978.pdf https://varnam.my/34311/untold-tales-of-indian-labourers-from-rubber-plantations-during-pre-independence-malaya/ https://nobonzo.com/ )

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PS: used with permission from Sandro, art by Maxa', a reminder to self: