#i'm making one sort of

[poorly-drawn-mdzs]

The Wizard Cowboy War (Wizboys VS Cowards) continues on.

[sentientcave]

Thinking about "came back wrong" Price, but he's come back better. John is brusque when he returns home from deployment, monosyllabic, closed off. He barely looks at you, barely speaks to you, sits in his office by himself for hours, cigar smoke creeping out into the hallway while you sit by and wait to see if the man that comes out of the room next will be the sweet, smiling, attentive man that you fell in love with, or the Captain.

You keep your head down when the Captain's home. He only needs two things from you when he's like this, and you're prompt with dinner, and bend over uncomplainingly when he tells you to. It's just a matter of time before your loving husband returns. You just have to be patient.

But this time... He's just John as soon as he walks in the door, and he beams when he sees you, and kisses you like it's all he's been able to think about during the long months away. He pulls you away from the kitchen and makes love to you, and the only smoke that fills the house is the dinner that burns while he refuses to let you out of bed. And then he offers to take you out, or order in. His eyes stay soft, and he doesn't reach for the whiskey or cigars all night.

He's buried face-first in your pussy when the door bangs open, and the Captain comes home. This is the husband you expected, eyes as cold as the stormy Atlantic, tense and ready for a fight, mouth set in a grim line. The look he gives you is murderous before he focuses on the interloper, dragging John away from you roughly.

The Captain hesitates a moment too long when he sees his own face staring back at him. It's long enough for John to lunge at him, the two of them hitting the floor, growling and snapping like dogs. The Captain goes for his gun, and John knocks it out of his grip. It skitters across the floor and stops in front of your feet.

You snatch it up, hands shaking. You tell them to stop, and they both freeze.

"Shoot him," the Captain orders.

It's obvious that John is the pretender. You should have known. It was too much to hope that he would come home happy to see you.

You study them both down the barrel of the gun, meeting the furious eyes of the Captain, and John's soft gaze. He expects that you'll do what you're told and shoot him, and he doesn't blame you. The understanding there is enough to shock you into pulling back the safety.

You take a steadying breath, and fire.

[queerasflux]

man I wish people understood how much it sucks ass to be neurodivergent and trying to find the middle ground where people like/tolerate you. like, I'm either "boring" (trying to wait my turn in conversations, holding space for other people, taking a back seat to let others get some spotlight) or "too much" (too loud/talking too much, getting excited to share, trying to participate in group conversations/activities). No one really talks about how much of being neurodivergent is just sort of trying to make yourself palatable.

I feel like so much of my life has been spent trying to find this effortless sort of middle ground everyone else seems to automatically already know, and I'm always swinging too far one way or the other. I'm lucky to have neurodivergent friends who grok me, but goddamn I wish that I could just like, exist without the constant background script in my brain that's like "you're being too loud. You're not talking enough. you're being self-centered. you're being boring. you're wrong, you're wrong, you're wrong." I feel like I'm back in high school trying to make friends but stuck as the eternal "weird kid"

it's just... lonely and sucks bad.

[pidgydraws]

🐴 just between you and me... 🐴

they can find one another in a thousand universes~ but they can't talk directly about their feelings...

some brush and style exploration for the commission i'm doing for Cardine's western AU "Never Really Faced My Fears Before" <3 (bonus: character sheets >here< and another piece from this AU >here< <3)

[salamispots]

speedrunning a bday gift for bb nephew hjdfgjh

[violent138]

Damian: "Red Hood has a pretty severe concussion. What do I do?"

Tim: "Extraction's still ten minutes out, just keep him talking."

Damian, urgently pressing the comm: "I don't want to talk to him, he's even more insufferable than usual."

Jason, lying on the ground, eyes closed: "That's funny Junior, because head trauma's the only thing that makes you bearable."

Damian, to Tim: "I'm leaving. It won't be the first time we've had a closed casket."

Tim, groaning disgustedly: "Robin--ugh, seriously, just stay there and keep him awake."

Damian, seething even more when he sees Jason's smirk: "Fine."

Jason, cracking open one eye: "Aww, are you concerned about me?"

Damian: "Shut up. The only thing I'm concerned about is our family's reputation after your public wipeout on that stupid motorcycle."

Jason:

Damian: "Are you still awake?" *kicks him* "Todd?"

Jason, grinning: "You said our family."

Damian, furious: "I didn't. You've lost more brain cells than you could afford."

Jason: "Wait 'till Tim hears, I think he'll want a group hug. Bruce is probably going to get emotionally constipated. Dickie would probably cry--"

Damian, panicking as he hears the Batmobile get closer: "Stop. Do not tell him--"

Jason: "You better erase every single fucking video of me crashing then."

Damian: "You have a deal."

[zeldalizzy]

After a VERY long hiatus in this series... Tiana and Time!! I wanted to do something sweet and nostalgic feeling for this one, and i had the idea to do some southerners cooking together!! I imagine that Time wanted to make a sweet surprise for Malon, and Tiana was more than happy to help out, since food is Naveen's love language too! I did a fun, 1920's style, almost flapper outfit design, since i couldn't find a specific dress of hers that i thought was fitting for the scene lol ���

i think tiana and time would be wonderful friends! also, malon and time and tiana and naveen could go on double dates and talk about their silly spouses and also their crazy life stories!! malon and tiana would make the best food too!

on a more serious note, time and tiana do have a lot of similarities; they both value hard work and the importance of family, as well as both having traumatic transformation experiences (cough cough Majora's Mask). Time had his own Bayou Adventure a la the Jungle Cruise in Majora's Mask. both have had odd experiences with strange voodoo like magic, and both had to learn the value of finding love despite their difficult upbringings. overall, i love that you guys picked this pairing!! 🩵

oh, by the way... i headcanon that Malon has a sweet tooth because 1) it just fits her personality, and 2) i imagine that she probably snuck some sugar cubes for epona and herself when she was a little girl (based off of my own personal experience with horses when i was little 😂🤭)

[bemorch]

Portrait of Divine Victoria with Schmooples II

[red-moon-at-night]

After doing some research on the types of pets people had in ancient Greece, I'd like to imagine that Helen is the sort of person who has a whole menagerie of birds — and she loves each and every one of them very, very much.

It fits well with her being good at mimicry, you know. Talking and imitating and singing with her beloved birds 💜

Close up under the read more:

I had to include that one necklace from the minoan 'saffron goddess' fresco because it's my favourite thing Ever

[canisalbus]

I heard a while ago that Machete was a nickname/codename, is this true? Will we know his "real" name?

Yeah! It's what some of his colleagues started to call him, initially behind his back. Something between a mean-spirited nickname and a backhanded compliment that stuck.

Machete is very competent at his job as the Holy See's Secretary of State, believe it or not. Even those that have something against him have to admit that he isn't a complete waste of space. He's hardworking and diligent to an obsessive degree, and has developed a sort of a cold, ruthlessly efficient no-nonsense work persona. He's known for getting results, and can come across kind of intimidating and impersonal while doing it. The less charitable parts of the Curia view him and his willingness to work himself to the bone for the benefit of the Church as a useful but ultimately replaceable tool. He doesn't come from a noble family so he isn't anyone's priced heirloom sword, but he's excellent for clearing out obstacles while he's here.

[buttercupshands]

I started drawing this next day after I finished Act 6

13 or so days and it's finished!

Main things are traditional and Loop's body was edited digitally after

Unedited it looks like this

I've been torn on how to do Loop's body for the entirety of lining, also

A bit sad the main lines are visible only as a wip, most of this thing is literally just a ton of sharp lines

I think it's also my first day of drawing, Loop is just a sketch here (feat. my leg)

I even finished the beans before it so they were a moral support, because if you let me things like this take a year

[bloodyfries]

Hualesbian au but the only thing that changes is just the gender of hulian. Xie Lian is androgynous/dresses masc(ish)/uses he/she though, so some people think she is a man. Ik this sounds contrived but hear me out

-

SQX: You should change into your female form, it's so much fun!

XL: I am a woman

SQX: ...

XL: ...

SQX: Even better!

-

PM: So you and Hua Cheng huh? I hear she's an evil seductress that has broken many men's chastity, though she's not my type I think you should be warned

XL: What's my chastity have to do with a friendship between two women?

PM (forgot XL was a woman): oh... well you never know

XL: ????

-

Jian Lan (who simply forgot that XL the princess XL and the scrap god XL are the same person): He's the father!

The whole court room: gasps

FX: ????

MQ: ...

XL: ...no

-

HX: Her Highness said-

SQX: Oh! You actually knew that he was a woman?

HX: *flashbacks to all the anatomically correct drawings he's seen, and HC constant yapping*

HX: unfortunately

-

also I think it would be really funny if people started getting convinced that XL has a sister because MQ and FX switch between his Highness and her Highness

[l3v5ha]

#SEVERANCE: [ i'm a busy woman ... ]

[cybershock24601]

Still thinking about that haunted houses can get pregnant post and imagining an au where Crypt Baby Rook is an actual literal crypt baby created by the Necropolis because I like to imagine it as having a fucked up, unknowable and incomprehensible eldritch sort of sentience and it wanted to make its own little human so it used some of the leftover blood from all the bodies prepared in the Necropolis with a little bit of grave dirt and tossed in a little wisp that was barely a concept of an idea and boom, Crypt Baby Rook was born.

Now there's a Rook Ingellvar that exists that looks like something right out of the uncanny valley because they were literally created by what is basically a semi sentient mega cemetery. They're too pale, their features too perfect and symmetrical, their proportions just a touch off and have a mouth full of a few too many teeth that are a little too sharp, probably have like no belly button because again they were made of blood and magic and not actually born. Just a Rook that's a little fucked up looking but in a way it's really hard to put your finger on.

Rook always had a hard time fitting in because they unsettle people just by existing and they know there is something off about them and that they are Not Normal but never really knowing what or why they are the way they are.

Then they see Solas' Regret Mural about how the ancient elves were spirits that took a mortal form and suddenly Rook's like hmmm, I'm not sure how I feel about the implications of this revelation on whatever the fuck I have going on.

Also the Necropolis gets so fucking moody after Rook gets kicked out because that's its Crypt Baby, why is the Crypt Baby gone, it wants its Crypt Baby back >:(

[jade-of-mourning]

my favorite thing to draw is korra being happy! my second favorite thing to draw is mako's deeply imprinted eyebags that have been present since the age of eight

[bitegore]

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

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

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

Credits:

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

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

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

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

-

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

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

Suggested / intended use & general notes:

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

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

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

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

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

-

Definitions:

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

General categories:

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

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

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

Outset: the start of the character's arc.

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

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

Mindset terms:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Circumstances terms:

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

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

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

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

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

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

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

Growth terms:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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