#it matters more if the character fits the story they're in than if the character is 'better' in one version or another

[pyreflydust]

Thinking again about how much happier people would be if they would accept that adaptations are adaptations and don't ruin the original and differences in characterization can easily be explained by the fact they're telling a different story and, if you want an in-universe explanation, it's a completely different reality.

[little-hermit-crab56]

I've been writing for a while so I thought I'd share some writing tips I've learned along the way.

1. Never sacrifice the flow for a quirky line.

That bit of dialogue or flowery paragraph you really like but it kinda disrupts the flow? Scrap it. I know it hurts, but you need to. If you really want to keep it, find somewhere else to put it where it actually fits in.

2. Dialogue is a dance.

Dialogue should go at the pace of an actual conversation, back and forth with little breaks and pauses. Add as little dialogue tags as possible while still making it clear who is speaking. You can also describe what is happening during a pause in the conversation rather than saying they paused, unless the pause is important.

3. Show don't tell is a guideline, not a rule.

Show don't tell is a very useful guideline, but if you're ALWAYS showing it can get exhausting to read. Skip the boring bits and just tell us what happened, then we can get to the good stuff.

4. If it's boring to write, it's probably boring to read.

If you can cut out a whole scene with little consequence to the story, you probably should. As I said before, you don't always have to show us, you can always tell us.

5. Everything needs to have a purpose.

I know there are probably lots of interesting or cute scenes where your characters are just fucking around, but if it doesn't develop character, relations, conflict, or plot, why should we care? Definitely still write them if they make you happy, but if you're gonna add it to your final draft, make sure it matters.

6. You don't need to explain everything all at once.

I know it feels tempting to put all the lore, and all the character's intentions, and reasonings into the first few chapters, but please refrain, you can reserve that for your character and worldbuilding sheets. Instead, take the time to let us get to know the characters, and the world, in the same way we'd get to know a real person. Make your exposition as seamless and natural as possible. It will take practice to know when to reveal information and when to let us wonder, but you'll get there.

7. Write in a way that comes naturally.

I know you probably have an author you wanna write just like, but that is unlikely to happen. Embrace your natural writing style and perfect it, rather than trying to be something you're not. Writing is an art, you need to find your own style and polish it as best you can.

8. Try to make us feel connected by cutting out certain words like "felt".

"Chad felt like a glass of water." Can be replaced with, "Chad was thirsty, so he reached for a glass of water." Both sentences tell us Chad wants a glass of water, but one makes us feel more connected to Chad than the other. Though both sentences have their time and place, you want to make your audience feel as close to their protagonist as possible. Make them feel like they're there, rather than just an onlooker.

9. We don't need to know every physical detail of your character.

I know you probably spent ages creating the perfect characters and you want to give us the perfect image of what they look like, but it can get monotonous and boring, why do we care that your character has brown eyes unless the colour has some sort of significance? Try to list off only the most notable features of your character and put focus only on the relevant details. Sometimes you can even not describe them at all and throw in little bits of information about their appearance for the audience to put together. We read to imagine, not to have a perfect image painted for us when we could be getting to the plot.

10. You're allowed to be vague.

Allow your audience to assume things, with some things you can just be lazy and let your audience's imagination do the work for you. Of course, don't do this with important things, but you can save so much time you might've spent researching an irrelevant topic when you can just be vague about it. You don't have to know everything you're writing about, so long as you know the bits that matter.

11. Writing is a skill that takes practice.

Don't be so hard on yourself if your writing is a bit cringe, we've all been there. The important part is that you research how to get better and keep writing those super cringe chapters. One day you'll reread something from a while ago and realize you're actually not as bad as you thought.

12. Leave your work to rest.

I know you wanna start editing right away, but once you've finished, leave it for at least a month. The longer you leave it the better, but that depends on your attention span. A month to six months is good if you're really impatient but want a good result. If you keep writing in that time your skills will continue to improve, then you'll be editing that draft with fresh eyes and fresh skills.

And if you're a fanfic author, I usually leave my chapters for a week before editing and posting.

Hope this helps anyone struggling, I thought this might be especially relevant now with nanowrimo.

I recently realized how much knowledge I've been accumulating over the years, I definitely have more but this is all I can think of for now.

I'm no writing guru, but if anyone has anything they're struggling with, I can do my best to help you out, so dont hesitate to ask questions.

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[aethelwyneleigh27]

The Type of BF/GF Cod Characters Would Be (Scenario)

You know, like that one thing circling around TikTok

Characters Included: John Price, Simon "Ghost" Riley, John "Soap" MacTavish, Kyle "Gaz" Garrick, Alejandro Vargas, Rodolfo "Rudy" Parra, Valeria Garza, Farah Karim, Kate Laswell, Alex Keller, König, Kim "Horangi" Hong-jin, Keegan P. Russ, Gary "Roach" Sanderson, Nikolai Belinski, Philip Graves.

And yes I'm aware that some have repeated characters, some fit more than one

ꕥ HOPE YOU ENJOY! ꕥ

A/n: I'm honestly on a roll and I've had my morning coffee so I'll start cracking, I have been trying to post more recently since it's October and I didn't really partake in the tober fests so I thought posting more might be good. Just me or are biker fucking hot? Yeah it's probs my thing for masked men.

Disclaimers/Warnings: OOC??

Doberman Boyfriend/Girlfriend whose first instinct was to protect you when you officially became theirs, initially they were always protective in subtle ways, subtle ways that also assert dominance over others. Little things like having a hand on your lower back or gently gripping your waist to move you. Their claimed spot is behind you, since they always find it to work when intimidating others and making sure no one even glances at you the wrong way. Might seem like they're intimidating but to you it's a different story, they're sweeter, more docile? Just far more affectionate and you basically have them wrapped around your finger. Switches in the bedroom but dom leaning, can be subs if you want them to be.

Characters: John Price, Simon "Ghost" Riley, Kyle "Gaz" Garrick, Alejandro Vargas, Valeria Garza, König, Kim "Horangi" Hong-jin, Keegan P. Russ, Philip Graves.

Golden Retriever Boyfriend/Girlfriend who are so loyal to the bone, they're fun and oftentimes a little himbo-ish? Quality is the best spent with you, kind of follows you around all the time. They're very clingy but do respect your personal space if you aren't in the mood, though that's what you love about them isn't it? That's they're insistent and wouldn't give up on you no matter what. Also love doing things for you (acts of service) and lives for it when you praise them. Switches in the bedroom, sub leaning.

Characters: John "Soap" MacTavish, Kyle "Gaz" Garrick, Rodolfo "Rudy" Parra, Alex Keller, Kim "Horangi" Hong-jin, Gary "Roach" Sanderson.

Tabby cat Boyfriend/Girlfriend whose chill around others but absolutely craves your affection behind closed doors. The kind of people sometimes randomly show affection in front of others even if they HATE pda. The kind of people who have been traumatized yet still affectionate as can be, everyone loves them for being down to earth but they do have bit of an odd side that only you see. Is a hardcore switch, no leaning.

Characters: Rodolfo "Rudy" Parra, Farah Karim, Kate Laswell, Nikolai Belinski, Philip Graves.

Black cat Boyfriend/Girlfriend who randomly bring home things that made them think of you, they knew you'd like it but only let out a subtle smirk. Lives for you being their adorable little sunshine, mean and cold towards other but less with you. Tried to give you tough love but eventually gave in because you are you. You know how cats sometimes bring you dead animals as a proof of affection and acceptance, they've done that... only with a human head of course. Providing for you and making sure you're taken care of is their love language, very protective and can really hurt people if they wanted to, someone hurts or upsets you? Their head will be displayed on your front porch. Hardcore doms in the bedroom. (Yandere AU anyone??)

Characters: Simon "Ghost" Riley, Alejandro Vargas, Valeria Garza, König, Kim "Horangi" Hong-jin, Keegan P. Russ, Philip Graves.

[thankskenpenders]

At long last, the trailer for Sonic movie 3 is here, giving us our first look at Shadow! It looks like a fun time, though my excitement is probably more tempered than a lot of peoples' due to a few things I have mixed feelings on. Here are my off-the-cuff thoughts about it.

Shadow

Yes, it does seem like they've really nailed Shadow here. Fowler's attachment to the character clearly shows. The action looks cool and really sells Shadow as a serious threat. He's got his bike, he's doing Chaos Control all over the place, it's great. Keanu is very much just doing his regular voice, but it fits well enough. The backstory from SA2 seems to mostly be there, though I'm sure some details will be adjusted. Mostly I'm still just amazed that we're getting a major tentpole blockbuster movie this Christmas starring Shadow the fucking Hedgehog that treats him as a serious character worthy of respect. We've come such a long way...

I mean, just... what an image to see on the big screen.

I also really like the way they're setting Shadow up as a foil for movie Sonic, kind of his dark mirror image as a Mobian hedgehog whose family life on Earth ended in tragedy and turned him into a vengeful antagonist. It's pretty straightforward, but it works well.

Robotnik(s)

Welp. They put Jim Carrey in a fat suit. I suppose we knew this day would come eventually.

I guess a small part of me is glad that movie Eggman finally actually looks like Eggman in every way that matter, but they're completely playing it as a joke at his expense here. And, yeah, the Sonic franchise isn't immune to fat jokes, the early years of the franchise (particularly Western adaptations) gave Sonic tons and tons and tons of jabs about Eggman's weight. But I thought we'd moved past that. But here we are with a depressed movie Robotnik binge eating and gaining a lot of weight like Fat Thor and the other characters think he's so GROSS and look his clothes don't even fit him anymore, haha! There's so much of this crammed into the trailer. I can only pray they don't do this in every fucking scene he's in in the movie.

I do like the plot of Sonic reluctantly teaming up with Robotnik to try and stop Shadow, though. It's very different from SA2, but we knew it would be, and I think that gives the movie some potential for Sonic to have kind of a dark turn of his own that mirror's Shadow's. I have a feeling that Sonic will try to get back at Shadow for something he does - maybe hurting Tom or something like that - and in the end Sonic sympathizes with Shadow and decides they have to stop their cycle of revenge, teaming up to stop some final threat.

Oh, and, of course... Jim Carrey is also playing Professor Gerald. Who might still be alive? Or maybe it's a hallucination on Ivo's part? I don't know, but either way, I'm here for it. Everyone joked about them doing it and then they went and did it. Yes, it risks playing him as a joke character, but the shot of him and Shadow mourning Maria while surrounded by GUN soldiers makes me believe he won't be a total joke. I wouldn't be surprised if he was the true final antagonist of the film, which would diverge a lot from the games but would work as its own version of the story.

And again, WHAT an image to see on the big screen lmao

Everyone else

The human cast is VERY downplayed in this trailer, but let's not forget that they're still going to get a lot of screentime one way or another. The Sonic 2 trailer barely showed anything from Hawaii. Where oh where is my best friend Wade?

Speaking of the Wade show, Knuckles... frankly still seems to be mostly a comic relief character heavily influenced by MCU Thor here, getting some jokes in the trailer but immediately getting Worfed by Shadow when it comes time to fight. Tails seems to be flying the gang around in a real-ass helicopter, and his big pilot's helmet is funny, but otherwise he doesn't really do anything here aside from getting stomped by Shadow. I really hope they don't get sidelined too hard, but frankly I fully expect them to, Tails especially.

And, of course... I can't help but think about who isn't here. Namely: the girls. Yes, three movies and one streaming miniseries into this film franchise, exactly zero of the female (animal) characters from the games have made the jump to live action. Please allow me to bitch about this.

Despite her being both 1) a main character in the game this movie is loosely adapting and 2) my fave, I suppose I can understand why Rouge isn't here. Paramount took one look at that bat cleavage and went "nope," cowards that they are. There was some speculation that Kristen Ritter could be playing Rouge, but we now know she's just playing someone at GUN. But, again, I at least get why they'd be hesitant to include her.

But Amy... Amy is such a glaring omission at this point. There's no excuse. She's the female lead of the franchise. She's one of Sonic's closest friends. (Honestly, these days it's more accurate to say Team Sonic is Sonic, Tails, and Amy, not Knuckles, especially in the comics.) And she's also a key player in Shadow's arc in the game. Shadow has his change of heart because Amy reminds him of Maria! And yet, she's nowhere to be seen. It sucks.

(I know some fans are still holding out hope for Amy, but the toys for the movie already leaked and she didn't get anything, so I have to assume she's not in it.)

It's not like I really expected either of them to be in this movie, but that doesn't make it less disappointing that they set up the film franchise in a way that makes it logistically difficult to include 90% of the characters and conveniently managed to leave all of the girls in the "low priority" pile. Yes, I know everyone points to how much Tails was downplayed in the third act of Sonic 2 as evidence that it's just so impossible to introduce more than one new Mobian character in each movie and give them the focus they deserve. Yes, I know having to come up with a story excuse to bring more characters over to Earth is an obstacle, especially when they're gonna have to devote time to Shadow's backstory. But these are excuses. It's a writer's job to figure out solutions to problems like this. They could make it work if they really wanted to. I'd take Amy having a suboptimal amount of screentime over her not being in it at all. It's just not a priority for them. That's what disappoints me. You can justify these absences from a logical perspective, but I just care way more about Amy and Rouge as characters than I do about Shadow, so there's no way for this to not sting.

But, at the end of the day, for what the movie is actually trying to do, it seems to be pulling it off well. Aside from the fat jokes. I don't like the fat jokes. But the Shadow stuff is good. As always, this live action version of the franchise is never going to be my ideal version of Sonic, but it's turned out far better than it had any right to, and I'll probably have fun when I go see this in theaters and hear Live and Learn.

[moondirti]

due to popular demand, a follow up to this featuring: 18+ content, gaz, ballerina!reader, internet stalking, men being gross, another a thinly veiled character study

Kyle is a good man.

Granted, his metric is not attuned to common standards for morality anymore, nor has it been that way since basic. He's sure that if he were to pick any sheltered samaritan off the street to read out his laundry list of transgressions, they'd balk at the fact that their taxes go to keeping him fed. They'd rather their image of the army stay unsullied and ideal. They'd rather keep him at arms length with a thank you for your service and not confront the blood caked beneath his fingernails.

But he can no longer be held to their degree. No longer exists within these spaces. No. Kyle – or Gaz, if one were to go off of what he's called most often nowadays – is a doorstop. A pestle. Something inconspicuous, obscure, that serves the sole function of making life easier for everyone but itself. And he assumes this role with a handful of others who have nothing else to live for, exiled to crowd the back of Foxhounds and kill at a moment's notice. Foul men. Friends.

If someone were to line up every operative on a special forces unit, or better yet collect the likes of the 141 and asses each for their moral standing, Gaz can rest knowing he'd come out on top. He's not yet as far gone as they are; can enjoy a night out or a pretty bird writhing underneath him without wanting to choke her out. Only devoted to his captain, or the others, to the extent that their professional relationship calls for (no matter how much it itches at him to watch Ghost take care of Soap, or to reject Price when he offers him a drink).

Sure, he laughs at their jokes. Might pitch in when they're swapping stories of their filthiest catch, Soap rattling on about the lass who'd stuffed her tongue up his arse, or encourage them to shoot on sight if they spot a potential threat, civilian or otherwise. Yet the difference is this: when he goes home, he can stuff that all away.

Knows not to let it infest the boundaries of the real world. Off deployment, his comrades play pretend at the noncombatant lifestyle, but the guise is ill-fitting. They're too big for their skin. They stretch and tear at the conventions holding them in place, like feral dogs made to heel. Kyle doesn't have to be tamed. He's still functional, familiar with the expectations held of him. Can submit to integrity more easily than most.

Kyle is a good man.

And that's what he tells himself as he returns home, train car completely void of anyone but himself. He's good for having given you up. He's good for not have followed you home. There'd been a brief lapse of judgement, but he's good for doing something about it before things passed the point of no return.

You've lived this far without his protection, he reasons. Yet it doesn't change the unreachable itch, closed away in a supposedly locked box. Gaz. Or, his captain's voice, cigar-smoked and advisory.

But why should you continue like that.

It's hard to fall asleep that night.

He's sick with worry wondering if you ever got home, bile broiling and distending up his throat at the thought of having abandoned you. It's pure concern that compels him to find your socials, really. Kyle is only searching for an update, or recent post, indicating that you're alive.

With nothing to go off of but a face, he searches for dance studios in both Acton Town, your area, and the Kensington, the area where you'd boarded the tube from. He makes a shortlist of the most reputable ones (your attire seemed to imply that you were a seasoned ballerina) and cross-checks them as hosts of upcoming recitals. Two renditions of Swan Lake and a production of Giselle turn up, each with their very own cast lists. Thus begins a tireless search of every name credited.

His heart almost leaps out of his nose when you eventually load into view, then plummets at how easy you'd been to find.

Your vulnerability only sets Kyle's conviction in stone. Bloody good thing he's got your best interests in mind.

Locked twitter, a LinkedIn, and a public Instagram page which sends his blood pressure skyrocketing after checking your follower count. Popular. And of course he can see why. Over a hundred posts chronicling bright smiles and flattering outfits. You mainly use the account to promote your practice, though; feed full of skimpy little outfits, leotards and exposed sternums and impossible poses.

Stop it. He's here for something specific.

Kyle sips in a deep breath, scrolls back to the top of your page, clicks on your most recent post. A casual video of your leg raised on a barre while your friend counts how high above your previous record you're able to stretch. Your skin is sweat-slicked. Your mouth is thrown open in a half-laugh, half-pant. He almost forgets why he clicked on it in the first place, before the timestamp catches his eye.

30 minutes ago.

So, you'd gotten home.

He can go to bed now.

Exit your account. Swipe up on Instagram to clear it from his running apps. If he's extra disciplined, he'd block you. Rob himself of the temptation to tug himself over the photo of you in the splits.

Kyle is a good man because he knows his limits.

(But Kyle now also knows the address of your studio. That, even if he blocks you, it'll take up space in his chest. A ticking-time bomb. A knowledge that'll haunt him whenever he's on the District, Circle, or Piccadilly lines, and the train announces Gloucester Road. A force, a stone in his throat, that'll grow so large it'll force him to stand up and disembark, to walk until he's standing right outside and wait on you to wrap up rehearsal.)

It occurs to him that the point of no return has long since passed.

inclusivity note: i felt the need to say that, while reader is a dancer, her profession is not meant to imply anything about her body type. flexibility and agility are not limited to thin builds, and while the ballet industry can be very toxic, i've seen my fair share of spaces where all figures are embraced and success is determined only by ability!

[revvethasmythh]

Reminded again, as I periodically am, that there's a fair number of people in the fandom that think of Nott the Brave and Veth Brenatto as two different characters, and not fundamentally the same woman. In the absolute literal sense, this is false: Nott the Brave, returned to the body of her choice and using her real name once again, is absolutely precisely the same person she was before Caleb cast Transmogrification on her. This is, incidentally, one of her main sources of angst towards the end of the campaign! A part of Nott must have both feared (and, in some ways, hoped) that when she was changed back into a halfling, she would also be a different person. That the person she became traveling with the Nein would be an easy identity to shed, which she may have hoped for because it would be easier to fit herself back into her home life with Yeza and Luc--and because it would be easier to say goodbye to the Nein if that were the case. And she feared it because she liked this person she became, no matter how transgressive society would label her for it. And she loved the Nein and didn't want those feelings to be altered.

But she didn't change. Veth Brenatto is Nott the Brave and Nott the Brave is Veth Brenatto. This was always the point. That's why it's an anagram. It's just that when she's Veth Brenatto again, she is much more focused on the why of what she's doing. Why am I still with the Nein? Why am I still adventuring? Why do I have this reticence to return home to my family? Why don't I long for that quiet, domestic life the way I once did? Her emotional journey becomes intensely personal, sometimes subtly/quietly told, and wholly about what kind of future she wants for herself and how her choice could affect those around her. Her two families become anchor points pulling her in different directions and she has to deal with that. Which is a different story than what she was telling when she was still Nott the Brave. Nott's story was much simpler--I am a goblin and I hate it and I would like to be a halfling again. I would like to be able to be with my family again. It's straightforward and it's achieved! But that's not where it ends, because she still needs to figure out a real, functional future for herself once her goal has been achieved.

All this to say, I think when people say they prefer Nott over Veth, it's important to remember that you are reacting to a certain story arc for the character, not an entirely different character. It may also pay to ask yourselves why you think they're so different. Was "Nott" funnier than "Veth" to you? Does her ability to serve as comic relief fundamentally change whether you like her or not? Did you appreciate "Nott's" themes more than "Veth's"? Or did you even notice the themes being explored in Veth's later game at all?

[frickfatphobes]

"Well, I don't have fat characters in my apocalypse story because they're all fit from running for their lives constantly."

"If there was some kind of purge in a sci-fi world, all the fat people would die first."

"They don't have anything to eat because all the food has been poisoned from radiation, so they can't be fat."

It's really not an excuse. No, all humans wouldn't quickly drop a hundred pounds even if they ran a few miles every day. No, fat people aren't automatically stupid and slow, so they would still exist if robots or zombies took over the world. And no, you aren't guaranteed to get thinner even if you are starving to death.

If running like your life depended on it made you drop a dangerous amount of weight, I promise science would have latched onto that for fatphobic reasons by now.

There are fat people who have won Olympic medals for running and many other sports before, we just don't see them on TV or in the news because people don't like "glorifying ob*sity."

Fat people have died of starvation before they're gotten thin before. There are so many things that will permanently shut down in your body before you drop hundreds of pounds of fat, due to lack of crucial nutrients. You can simultaneously be fat and starve to death.

So when you write fiction in a fantasy or sci-fi setting, make good, smart, fast, non-fatphobic fat characters. I'm not saying your whole cast has to be fat, but haven't we gone long enough seeing nothing but thin characters in our action adventure stories?

Representation matters more than most people might think.

[aestophobia]

I will forever stand by the fact that Blitzen and Hearthstone are some of the most interesting characters that Rick Riordan has ever written.

Hearthstone is the first mortal in centuries to practice rune magic, a skill that only Odin possessed before Hearth came along. He faced what I fully believe to be the worst trauma in the riordanverse (people often forget that in addition to being shunned for his deafness, being blamed for his younger brothers death, and having to live with the Wergild, he also had to skin the monster which killed Andiron all by himself at eight years old and he wasn't allowed back inside the house until had finished skinning the entire thing) and despite that, he still managed to return to Alfheim not once but twice to face his father. (and it's implied that it also happened another time prior to the story because Alderman knows who Blitzen is in THoT)

Blitzen is a misfit among dwarves, being the only one of his kind who isn't a builder by nature, but that doesn't mean he doesn't create by nature. He cares so much for fashion that he makes it his own craft despite not being given the recognition for it. He makes his own degree, he turns fashion into something that even the other dwarves can appreciate, and he succeeds in opening his own shop. He shows that he is willing to do anything for his friends on multiple occasions, and he has so much love to give even after losing his father, the only person who ever understood him. Because of this, he is able to recognize being a demigod for what it is, something that many other demigods don't like admitting all the time.

Neither Blitzen nor Hearthstone fit in among their own kind, but together, they form a bond unlike anything else Rick has ever written. Most of the MCGA fandom can't look past them being "not canon," but that's wrong. They aren't "not canon." They're nuanced and complicated with a relationship that might surpass platonic, but maybe it doesn't. (For my good omens fans, I would say they're thoroughly ineffable) That doesn't matter because they love each other, which they state in the text multiple times. Just because it never explicitly says "Blitz and Hearth are in a relationship" doesn't mean that they aren't in love. Just look at the things they do for each other.

Hearthstone, who doesn't show much emotion and is usually very restrained, but whenever he's been separated from Blitz, immediately rushes to hug him. Blitz, who once yelled at Hearth's abusive father with so much unbridled fury that Magnus thought it was Odin himself.

Blitzen can't survive in light, and Heartstone needs light to survive, so Blitz brought sunlight to a world of eternal darkness for Hearth. They call each other "my dwarf" and "my elf." Blitz learned an entire language for Hearth, and he expresses jealousy whenever Inge is around. Hearth faces abuse to save Blitzen even after Blitz begs him not to.

You can't have one without the other. They need each other more than anything else in the nine worlds. They weren't written just for you to go, "Oh boring, they aren't canon because they never kissed"

[mibkid]

Can i just say as both an artist and cosplayer i am so greatful and amazed over Jojo's amazing linked universe comic and just how much time and effort she puts into it.

i mean i am floored over 10 pages a month fully colored with detailed backgrounds and good story, believe me it's crazy amount of work. ...and speech bubbles. eurgh typography...(u can guess which part of comic making i enjoy the least)

Not only that but i am eternally greatfull for just how many angles we get to see the characters in the comic, the varied poses and expressions are not only amazing to look at and great way to show personalities, but also just such great reference points when either drawing the characters or trying to figure out how the hell a costume is built up.

AND jojo has drawn them in various stages of their clothes on during the comic, so you KNOW HOW THE LAYERING WORKS.

How is Time's armor built up? Boom right there in multiple angles and sometimes off.

Ah how does Hyrule's layering work? BOOM right there with an interesting maybe leather based under-armor??

How large is Twilight's chainmail and how is it built up? BAM right there.

Jojo literally drew a whole page of how Sky's clothes are built up, layer by layer.

It's truly a blessing!

AND IT IS CRAZY that jojo added so much beautiful embroidery to the characters' clothes.

(my brain is like "oh but me like to know every detail of the embroidery of every character", and i end up looking at the pictures and say "sush brain don't be a spoilsport they're already detailed just use your imagination of what jojo has drawn and what could fit the specifics", because that is fun too! like Sky's embroidery on his over-undershirt could very much be berries of some sort on twig together with some sort of classic skyloftian forms, like lingon berries though it isn't,( i know that lingon berries don't exist in hyrule...) but it would be a fun idea!)

As you can see by my... detailed oriented nature i am very interested in their designs. But again the whole comic is a true wonder, i mean, so many angles not just the characters but the surroundings. So many different zoom-outs and zoom-ins utilized, the comic knows when to change from one character to another to more than one. So it's great on a technical standpoint too. And it's SO cool to see how Jojo's art has changed through time. (that is not a pun)

Anyway, i felt like i had a lot to say, and this was me saying it. I guess it's a Appreciation post for jojo, for showing other artists and creatives so much different and amazing artwork. (and giving us amazing references)

But also it's that i want other people to see(though i think they do already) how much time and effort and love has been put into it, not that it matters much coming from me as a random person who happens to enjoy her work.

But i think it's fun to show appreciation for artists and writers anyway.

[aroaceleovaldez]

i know a lot of people talk about the Cupid Scene as not being great as Nico's coming out story (which i think is a complex matter but that's a rant for another day), but I personally find it way more compelling if it's just not Nico's coming out story at all - it's the beginning of Jason's.

Because it doesn't really work or make sense to be Nico's, right? It's not Nico's pov. Nico doesn't have a POV at all in this book. And in House of Hades, the Cupid Scene is one of the first major things Nico gets to do right out of the box jar. Why introduce a character, have him be outed as gay, lead the crew around, and then leave to go travel with someone else all in one book where he's not even a POV? It's also contrary to the way Nico generally functions as a character - he's either exposition, dues ex machina, or damsel in distress. He's kind of a damsel here, but ultimately he doesn't need anyone else to save him - or even be there. He handles it on his own. Jason is mostly just a witness.

But, if you view the Cupid Scene as being about Jason, it narratively fits a lot more; Jason at this point is dating Piper, and they're three books deep into their relationship. TLH they start dating and are relatively happy with it and where they are. SoN is a skip but we know they're happily dating during that time, and then Mark of Athena we get a slight shift. Jason and Piper see Percy and Annabeth and go "Oh! They're perfect. Their relationship is perfect. We could be happier if we were more like them." Piper and Jason are also both characters who go through an identity turmoil in general - particularly about how both of them want to be perceived by others and who they are as people. The things they identify with - their parents, their heritages, etc etc. Their orientations. Piper's get more focus earlier in HoO, and Jason gets more later.

The Cupid Scene is from Jason's POV, in a book where he is beginning to struggle with his identity and what people expect from him - particularly him not feeling like he perfectly fits with "either camp." He's too "Greek" to be "Roman" but too "Roman" to be "Greek." He's not quite one or the other. He doesn't meet the expectations either has for him. (This is bi-coding, if you couldn't tell. Just replace "Greek" and "Roman" with "Straight" and "Gay.") It starts with Cupid addressing Jason first, before Nico, very directly - asking him if he's so sure he's happy in his relationship? Does he really think it's perfect? Even Favonius very pointedly asks him if he really forget that guys can date guys? Do you have some internalized bias around that, Jason? Hm? Heck, they're both specifically in their Roman forms, not Greek. Why would they appear in their Roman forms if they're there for a Greek demigod? And very notably, they have this exchange:

(remember what I said about the bi-coding with Jason's Greek/Roman identity crisis? I don't think it's coincidence that this so pointedly comes up during the Cupid scene.)

Favonius' introduction to the Cupid scene sets up Nico's portion of it, but Cupid almost exclusively speaks to Jason for the first half of it. Then Nico steps in. He diverts the conversation away from Jason and focuses the attention onto him. Nico's the one Cupid wants, he insists, not Jason. He's the target, not Jason. This is very in line with Nico's character - practically one of his core character traits is he trusts and starts caring about people very quickly, probably quicker than he should or even wants to, and will put himself in harm's way to prevent others from being hurt. The Cupid Scene isn't the start of Nico's coming out story - Nico already knows he's gay. He has no internal doubts about that. He's known it for awhile. He's just in the closet. And he starts coming out of his own free will in the next book, first to Reyna and Coach. The Cupid Scene is Nico recognizing that Favonius and Cupid are pushing Jason for something he's not ready for and hasn't figured out yet, but something Nico has and just hasn't said out loud yet. The Cupid Scene is Nico taking the proverbial bullet/literal arrow for Jason (Jason consistently describes the arrows as whizzing by him before striking near Nico, interestingly) and being outed so Jason isn't. And that presents Jason with the path to begin questioning his identity further. (Jason also then directly compares Cupid to Aphrodite, specifically her Greek form, which also ties into Jason's greek/roman stuff.)

And I don't think it's coincidence that Jason and Nico mirror each other so much, and that their arcs in HoH are so intertwined. The Cupid Scene functionally, on a meta level, establishes an explicitly queer character to parallel Jason and for him to bounce off of during his own arc. (And, also on a meta level, establishes to the audience to be sympathetic to queer struggles, with Jason's arc then proceeding to be a queer-coded struggle.) Jason is presented as having this strange level of isolation from how others perceive him in a positive way/the expectations people have of him that wraps around to something akin to Nico's ostracization as being an outsider and atypical demigod in general. Nico is a rouge - he explicitly expresses how he feels like he doesn't fit in at either camp (something he expresses explicitly during the Cupid Scene, mirroring Jason's simultaneous questioning his own place at Camp Jupiter) and a core part of his character is that he does function outside the rules and expectations of both camps. He operates on an entirely different realm to them. If the camps are an expectation of normative concepts of acceptable relationships, Nico is outside of that. And he recognizes that he operates outside of that and will never fully fit into the mold either expect of him, and he recognizes he doesn't need to fit in, even if he theoretically could force himself to fit that mold. Jason, meanwhile, is still locked within those boundaries, and grappling with this idea of how he can exist between them.

Nico hands Jason a goblet of poison and says "how much do you trust me?" and it's Nico challenging Jason to take his own advice about trusting others about their identities, and almost immediately after that Jason gives up his praetor title to Frank. Jason's Greek/Roman arc is directly tied to Nico and the Cupid scene. BoO ends with Jason asking Nico to stay at CHB so they can hang out that summer. By TOA, we learn that Nico has started dating and is staying at CHB (is exploring the niche of expected and socially accepted relationships) while Jason has broken up with Piper and is living away from both camps (rejecting hetero/allonormative expectations), still struggling with his own identity. They functionally swap places. And that's fascinating.

Anyways i think about Jason's bi-coding a lot.

[katyahina]

The 'haired' helmets are strange..

It IS odd how we get to wear the characters' hairstyles, as it is just really unlikely they're scalps! I suppose the explanation is the same as why we are able to completely change upon looking into a mirror at Roundtable's Hold; as long as the Tarnished is guided by Greater Will, they'll have its aid and be transformed into whatever they see fit to keep carrying on! So I think the implication here is that we do, physically, grow the hair of the demigods (or champions) upon trying to tap on their power! I think if GW abandons a Tarnished, or if they abandon it, they lose this 'ability', which our playable character never does, so..

I am not sure whether it is Maliketh's own long mane or also a decoration! I'd like to think the former, in which case, same logic as with hair of Malenia, Godfrey and Radahn applies! Vargram's "hair" definitely is a decoration, and specifically for the purpose of imitating shadowbeasts:

Ensha's armour goes even further and not only gives us a hairdo, but makes us a skeleton:

We even get his power of slight regeneration, similar to Erdtree's normal powers:

All implications considered, I really doubt that this is just how armour looks, especially considering no change in size. We are not 'wearing' the skull, we ARE the skull now fhhsfd And this time the NPC data inside simply exists because Ensha does use NPC code and mechanics. So, we turn into a corpse! Again, should not matter much since as long as we're carried by GW we don't need to eat or sleep or... anything, really. (I'll also die on the hill of the theory that Ensha was one of the deceased Marika's offspring whose Mausoleum crashed and what was left from him crawled out but that's another story fdhfhds)

Here are other instances of hair simply decorating a helm:

Niall is that one guy we fight in Castle Sol, so similarity in this case ALSO checks out! Also cute idea: what if decoration for the helmets of Godrick's Knights IS his own hair? ;-;

That could also be speculated about Redmane Knights, but I feel like it'd be more appropriate for Godrick's. Radahn would be stingy about his amazing lion mane whereas Godrick can not only take body parts but also give them XDDDD yeah yeah terrible whatever

The black hair on Night Cavalry's helmet can be removed, also confirming that in this case it is a decoration. This hair does have interesting flowing animation though! Maybe it IS the hair of Night Cavalry themselves, still having their shadowy energy, but cut and attached again to their own helmets (kind of like Ciaran from DS1 decorated her helmet with her own braid!)

Another case of hair not being actual hair but part of the mask; the way hair is placed, it'd had to grow from like, eyebrows level and face itself or something fdhfdsdfh Maybe this style with braids and grey hair was intended to refer at Godfrey's? Alternatively, what IF their faces are actually furry/animalistic despite otherwise human build, so the hair doubles as fur? We don't see them behind the mask, after all? A food for a thought lol

^ More of 100% 'mask' types of these

The water dancer in blue gave the sword to Malenia's teacher, the blind guy that once sealed the God of Rot himself, and these warriors in blue appear to be following the same philosophy of "ever running water preventing stagnation, so, rot itself" as him! Although this head piece imitates just a follower and not the man himself (as far as we are aware....), perhaps the sentiment is strong enough to give us the hairdo too x) Again, funny enough, it seems to resemble the Lady of the Lake fairy herself!

I suspected the case of 'sharing hair' with Cleanrot Knights too, but upon closer look I can tell it is supposed to be some fabric/rags, rather than hair or hairlike accessory! Probably more efficient to imitate the look with rags rather than something hairlike tbh, considering the lenght of the thing! So I think the design is more meant to represent Malenia's own unhappy fate, with short tuft being the "hair" and the longer tails being the "wings" :

_______________

In conclusion, it is kind of easy to deduce which hair become our actual hair for the time being because of golden grace 'reshaping' us and which hair is just decor! But it is really interesting stuff to think about all the way!

[snivyartjpeg]

Yuma Month Day 26 - Role Swap

god i was excited for this one. it first started off as a joke, but the more i thought about it, the more interesting this swap became. so here's my massive lore dump of changes that'd happen in the story beneath the cut (spoiler warning):

i think, fundamentally, yuma and yakou are very similar characters. they're both very protective and kindhearted, with a strong sense of justice and a penchant for attracting terrible luck. because of this, some things would remain the same, such as the NDA's dynamics with their doormat chief as well amnesia!yakou's massive unpaid intern energy. i think yakou would be pretty similar to how he behaved in the light novel- a bit more optimistic and naive, like yuma. but there are two key differences between them that'd make this a different story, especially in ch 4: yuma has a forte, and yakou is very selfish. so here's some changes:

yakou's wife is his shinigami now, as you can see, while shinigami is yuma's dead wife. i think mrs furio would act cooler than shinigami. she'd still be playful, but she takes her job more seriously. also she hands yakou the solution keys normally without throwing up. they still have to do the dance and mouth sword thing tho. and the other stuff. that's just death god protocol

shinigami (or in this case the unnamed Mrs. Kokohead but i will still be calling her shinigami for convenience sake) was a scientist at amaterasu who studied forensics and thanatology instead of regenerative medicine. this also means that the pill she gives zombie yuma is not going to bring him back, but instead grant the zombie homunculi a peaceful, painless, but permanent death

speaking of zombie yuma, he's the homunculus now! yakou is 100% human and also doesnt have a forte. he's still number one, but instead of having a forte he's just that good at solving mysteries

yes this means makoto looks like yakou now. sorry makotoheads. i think he'd have really long, shaggy hair dyed to be like. idk. black or something. also he's more clean shaven bc stubble with a mask on is a sensory nightmare

yuma still cant cook. he subsists entirely on takeout, meat buns, black coffee, and beer. he's still in a lot of debt and under a lot of stress and his personality is essentially "what if canon number one just gave up"

he doesn't smoke though. he tried once and got into the worst coughing fit

imma say it right now. kurumi is not a love interest. yakou likely disguises himself as a faculty member instead (also i think one of the teachers gets a crush on fem yakou bc i just know she'd be hot)

ANYWAY what about chapter 4? im SO glad you asked! because here's where things get spicy!

so, lets start with the dead wife. shinigami catches onto huesca's inhumane research and she's just as adamant about bringing the truth to light as she always is. she blows the whistle, so he blows her up. yuma investigates, but they dont let him look any further, yada yada, yuma stews in his misery for five years

yomi sends in the evidence to motivate yuma to kill huesca, and makoto lets it happen because a dead huesca would be convenient. he even introduces the hitman, fully expecting yuma to make use of him

yuma doesnt. in fact, he wants to kill huesca with his own hands. and now that these detectives are here, he can do it and even return alive. the thing is, he doesn't want to put them in danger, so he chooses to do almost everything alone (sound familiar?)

his plan is simple:

ask desuhiko for a peacekeeper uniform. desuhiko trusts him enough to take "i want to investigate kanai ward's ultimate secret by infiltrating their ranks" as an answer. he does, however, let yakou know about this as an offhand comment before the mystery ever begins

hold fubuki's hand. it doesnt really matter how. she'll gladly allow it because she's fubuki. he stores her time powers and heads out the sub. yakou also learns this as an offhand comment played off as a joke (maybe fubuki affectionately comments about how she never expected the chief's hands to be so soft... idk. there has to be some way for yakou to have this as a future clue)

use his peacekeeper status to sneak into amaterasu HQ and demand a functioning ama-pal from that one creepy researcher

use ama-pal + fubuki's borrowed powers to bypass huesca's security. sneak the bot past the hard-of-hearing doctor and press the button to shut off security

this would probably alert huesca, but since the doctor never received a warning, yuma has enough time to rush in and stab him before he realizes what's going on

leave HQ while still in uniform, dispose of the disguise once he's safe, and return to the NDA like nothing happened. success!

soooo.... yakou, on that same day, decides to investigate amaterasu HQ with makoto

all the while, vivia has his suspicions about yuma's actions and keeps an eye on him in spectral mode. he... basically witnessed the whole thing, so he gets up off his ass and decides to follow yakou to the lab because he has a Very Bad Feeling about this

just like canon, he senses the death god and deduces that our protag has been killing off murderers, and so he wants to protect his chief as well as his peace and quiet (his dynamic with yuma would be the same as his dynamic with yakou, since it's entirely believable for yuma to treat vivia with the same kindness yakou did)

yakou tries to speak to huesca, but surprise! security is disabled and he's dead in the lab! no one else at amaterasu liked huesca enough to check on him, so yakou and makoto are the first ones at the scene of the crime. yakou, of course, decides to start investigating this murder

vivia somehow sneaks into the lab (dont ask me how) and confronts yakou, threatening him with his boxcutter and adamantly imploring him to stop pursuing this particular mystery in the same way he did yuma in canon. unfortunately, this attracts attention, and now they're in trouble (maybe even yomi's there to fetch his files). at this point, yakou has enough solution keys, so he panics and goes right into the labyrinth (and maybe others can enter for another reason that isnt coalescence idk)

so... they go in the labyrinth... vivia tries to stop him every step of the way, until the answer is right in front of them

yakou kills yuma with his own hands. there's no stab wounds or toxic gas to leave any doubt. yakou begins to question what good his justice really does. it doesnt even save them from their predicament, just like the other deaths. instead, makoto ex machina comes in to save them, and hands yakou a small black box

when they return to the agency, everyone is heartbroken over their chief, who seemingly died out of nowhere. fubuki tried rewinding time, but to no avail. halara tried everything to wake him up, knowing it's futile. desuhiko stood aside, feeling completely helpless. and yakou and vivia return looking like they just came back from hell

they barely get the chance for a funeral before the knockout gas trap activates... you know the rest

AAAAND SCENE! so that's my extremely long winded lore dump about this au. i thought about it Way Too Much but god it's so interesting to me. i love these characters and swapping them was immensely fun

[dduane]

I just wanted to tell you, I came across your name in a book group - someone suggested your young wizard series as something to check out if one had enjoyed Harry Potter. I didn't have any expectations going in aside from the general 'kid discovers magic is real', and I started to read last night before bed. I woke up 3 hours ago and immediately grabbed the book, and mainlined it like a junkie. I'm going to the library today to get the rest of the series. I am 43 years old, I've never written a letter to an author before, but I just had to tell you - I think your story is amazing. I loved everything about it - you followed the rules of the universe that you built, and because of that, I was able to stay in the story right alongside Nita and Kit. It is *rare* that I don't get bumped out of a book when it breaks its own universal rules - the only other ones I can think of are the Fellowship of the Ring series and the Broken Earth trilogy. Anyway, I'll stop rambling, but I just wanted you to know that your writing is incredible, and you are now on my 'recommend this author' list. Thank you for sharing your gift with us.

And thank you so much for letting me know! It's always good to hear I'm getting the job done. :)

As for the "rules" thing: I belong to one of the schools of (fantasy) writing that leans hard into the idea of limitation being key in both making things seem feel more real for your reader, and assisting them in fully grounding themselves in the story you're trying to tell them. (I just typoed that as "sell them", but that works too.)

Life is full of limitations: things you want but can't have, conditions there's no way to change but you wish you could. Without the ubiquitous reality of gravity underlying them, dreams of flying aren't worth much. So to feel real—at least from where I'm sitting—magic, to fit in, needs rules: things it can do, things it can't. The tension between those two states (and on the characters caught between them) will be a potent driver of both plot and character development. And with my eye on the drama both of those rely on, I have zero time for the "wave your wand and shit happens" approach to magic in fantasy worldbuilding. That generally strikes me as both lazy and boring.

Then once the rules have been set up, it seems to me, the writer needs to stay in them and not casually screw around with the structure... any more than gravity will let (nonwizardly) people screw around with it, no matter how much trouble they're in. Here, consistency really matters. To break the rules on a whim is to betray the reader... which is not a nice thing to do.

Anyway: I'm glad this approach is working for you so far. That said: the underlying magic system in the Young Wizards universe reveals more of its complexities as the series goes on. I'm hoping those books will work for you too.

[miraculouslbcnreactions]

“Also because I want [Nino] to be more narratively important but that is a rant for another day.” And will that day be someday soon? Wink wink nudge nudge :3c

I am happy to give Nino some love, but before we do, we need to talk about how badly canon has failed him. The reason we need to have that talk is that the love I'm going to give is far more headcanon-y than I usually go in these analysis posts. For most characters, I can give a strong canon-based argument for a core characterization. For Nino? Well, I am pulling this stuff from canon, but I wouldn't exactly label it a "strong" argument. There are even elements of my take on Nino that you could label "grasping at straws".

And I'm happy to own that! I delight in giving Nino all the love he deserves even if it doesn't perfectly match canon, but that means that my Nino is less me leaning into the best parts of canon and more me shifting through canon, grabbing a few shinny bits, and weaving them into something that you may not agree with because my vision for Nino is to elevate him to match Alya in terms of narrative importance because I want the team show season two promised me even if I have to make it myself!

And if you don't want that? Then that's fine! I'm not arguing that everyone should adopt this take. My version of Nino is about as close to an OC as I get when writing fanfic. So let's get into it and talk about why I had to do that. (Also note that I have nothing against OCs. It's just that, when it comes to my own writing, I try to reserve them for original fiction or for very minor roles that no canon character could fill. Totally a matter of personal preference and not some sort of judgement.)

The Many Ways that Canon has Done Nino Dirty

If we look at what is arguably the main group of friends - Alya, Marinette, Adrien, and Nino - then we can see a clear base concept for the first three. Alya is the plucky reporter. Marinette is the headstrong leader. Adrien is the sweet goofball. Nino is... Alya's boyfriend? Adrien's best friend? Chris' older brother?

This is the problem that I was referring to above. Alya, Adrien, and Marinette have clear roles that you could pick out by just watching Origins. Nino doesn't. He doesn't even speak in part one and part two gives him all of six lines. These lines establish him as a nice guy since they're all about him being kind to Adrien, but that's about it. Here's one of them as an example:

Miss Bustier: Agreste, Adrien? Nino: (quietly to Adrien) You say "present". Adrien: (jumps up with his hand raised) Uh, present!

This is a cute moment for sure, but when I look at it, I can't tell you who Nino is supposed to be other than a nice guy, which isn't much to go on. Nice guys can fit a lot of roles.

This isn't necessarily a flaw. Some characters have roles that are immediately obvious and some characters don't. This second class of character usually just has a more complex role that will be discovered and defined based on their actions as the story goes on. However, because Miraculous' writing is all over the place, Nino gets screwed. Instead of his actions defining his nebulous role, his actions make his role impossible to pin down! Here are a few examples:

Nino the Protector:

Season two was big on the idea that miraculous had to be suited to their holders. That's why Chloe kept getting the bee as we saw in Malediktator:

Marinette: I must choose someone who's not impressed by people in power. Who can help me trap Malediktator. Huh?! Of course! That's it. (reaches for the Miraculous of the Bee)

And why did Nino get the turtle in Anansi?

Marinette: I need a protective Miraculous. (gasps, and points at the Turtle Miraculous Master Fu is wearing) That's the one I need, Master! (Master Fu gasps) Uh, if it's okay with you. Master Fu: (smiles at Wayzz, who nods to him) Do you have someone in mind, Marinette?  Marinette: Actually, I think I found just the right person.

Okay, cool, we finally have a strong defining trait for Nino! He's a protector! Or, at least, he was here. Other episodes go directly against this role such as this nonsense from Illusion:

Nino: What's up is Ladybug and Cat Noir don't have us to help them anymore. Alya: (nervously) Um, um— uh— what do you mean, "us"? Nino: Well, us, you Rena Rouge, me Carapace! (Alya kicks his leg underneath the table) Ouch! What's the big deal? We can tell Marinette and Adrien we used to be superheroes.

This first issue with this episode is that we see Nino out his and Alya's secret identities without her permission even though the resistance did NOT require an identity reveal to be a thing. In other words, our supposed protector is taking a big risk for no reason. Then he goes and does this:

Nino: Hence my plan. We're gonna film an akumatization. Alya: And how are you, Comrade Ketchup, gonna be in the know when and where this akumatization takes place? Nino: Easy, Comrade Beurre Maître d'Hôtel. I'm gonna make it happen.

Which leads to the four friends antagonizing Gabriel even though Nino knows how complex Adrien and Gabriel's relationship is. A move that makes no sense for a supposed protector because Gabriel was far from their only option. Nino could have picked anyone, but he went with the riskiest candidate possible, exposing his best friend to a potentially massive backlash.

Nino also doesn't even try to contact Ladybug and Chat Noir prior to this insane plan, thereby putting the whole city at unnecessary risk! What kind of protector purposely causes an akuma without also coming up with mitigation strategies to minimize the resulting damage?

Everything Nino does in this episode should disqualify him from ever holding the turtle again or, at the very least, he should have to redeem himself before holding the turtle again. This is especially true since he never apologizes for anything he did in Illusion and this is just one example of the issue. It's actually kind of hard to find moments where Nino acts as a protector even though he holds the miraculous of Protection. So is he supposed to be a protector? Who knows!

Nino, The Empath:

That first example was long, so we'll pick two quicker ones to flesh this out. The first one is how Nino and Adrien's relationship is defined. In Origins and the New York Special Nino is written as a kind and sensitive guy who is acting as Adrien's guide to dating and other elements of the real world:

Nino: Yup. I love Adrien, but he's like a baby chick that's just started cracking out of his egg. He has a hard time understanding the signals people send him. Alya: What signals? Marinette isn't exactly sending them clearly. I mean, look! What is she doing with her arms? Telling him what to do in case of an emergency landing or something? Nino:(sighs) If only this trip could help Adrien finally come out of his shell.

But then you have episodes like Animan where Adrien is Nino's guide to dating:

Nino: Shhh! You know I'm no good with the ladies, especially this one all of a sudden. I mean, dude, do I go up to her and crack her a joke? Shoot her a compliment? Invite her to the zoo? Play it serious? Adrien: Nino, you're way over-thinking this. "Invite her to the zoo", you serious? Nino: Well, they have this really cool new exhibit there. Adrien: Listen, just be yourself, man.

And episodes like Illusion (discussed above) and Psycomedian (see below) where Adrien is deeply uncomfortable and Nino doesn't notice:

Nino: See, dude? I told you! Hilarious, right? Adrien: Uh... (laughs nervously) Right! Really funny, Nino. Nino: I gotta show you his other sketches. It's insane that you don't know Harry Clown! (laughs)

Which might work if these episodes were about Nino learning a lesson, but they're not. Nino learns nothing, so is he generally in tune with others or is he kind of oblivious to other peoples' feelings? And why did Nino ever think that Adrien was a good source of romantic advice if he also thinks that Adrien is "a baby chick"? Pick a lane people!

Nino's Hobbies

Our final source of confusion is trying to define what Nino even enjoys doing. Horrificator and Queen Banana have him playing around as an amature film maker, but we also see him acting as an amature DJ with the wiki even claiming that he's the head of the school's radio station. So which of these things is his passion? Movies or music?

To be clear, I think it's fine to have multiple passions, but this is a story. You want to keep your characters' non-story-relevant hobbies kind of simple, especially when the character in question is a relatively minor side character who rarely gets much screen time. It's why Alix is only really into roller skating and why Nathaniel is only really into art. You don't want them to be more complex than that.

Even the main characters get this "keep it simple" treatment with Marinette only really being into fashion and Alya only really being into her blog. The girls don't need two demanding passions that would eat up all of their free time, but that's what Nino gets! Film and music are both incredibly demanding passions and it's hard to balance a character who is into both who is also an active superhero. That's a lot for one dude to do well!

I've actually seen fics that cast Nino as wanting to be a director and fics that make him want to be a professional DJ because canon really isn't clear about this pretty basic aspect of his character, but you do need to pick a lane when writing anything that gives Nino a career and so people seem to pick a passion at random.

My Version of Nino

By now, we're hopefully in agreement that canon has made a mess of Nino's character to the point where it's near impossible to say "this is who Nino is supposed to be." However, if you want to write Nino, then you do kind of have to pick a characterization to go with, so here's what I've come up with. Feel free to embrace it or reject it, but know that you will pry my version of Nino out of my cold dead hands because I utterly adore him.

Since Nino is Carapace, I base everything about him around the concept of "protect and defend" because he needs to feel like he deserves his heroic alter ego. I do not want to make canon's mistake of giving him a miraculous that massively contradicts his writing. Especially when that writing makes him feel interchangeable with other characters. At this point, no one from canon screams "turtle miraculous" unless you want to give it to Adrien since he's Ladybug's defender.

I also designed Nino around Alya and Adrien as those will arguably be his most important relationships. He should feel like a perfect fit for boyfriend and best friend respectively. I also took Marinette into consideration because he's going to be part of her team/friend group, so he should work with her, too.

What all that means is that I basically said "okay, this is where Nino is supposed to fit in the story and this is the dumpster fire that canon gave us, how do I pull pieces from the fire and paste them together to make a character that fits who Nino should have been?"

To really get into my version of Nino, I'd almost have to give you a fic to read, but that's way too much for a Tumblr post, so let's keep this high-level and just look at some of my notes on Nino from my lore Bible:

Nino is a major audiophile. He loves listening to music and watching movies/TV shows to study how they play with sound. He wants to be an audio engineer when he's older, but he also has a general passion for all things music and film. He’ll listen to any genre and watch almost any movie or show. He loves to take charge of the music at events so that the music really fits the crowd (and so it sounds good). It isn’t unheard of for him to go see an unknown band or an odd indie film on his own. This will become a major bonding point for Nino and Adrien because of the influence of Adrien's mother. Nino has seen all of Emilie's films and loves them. It will also bond him and Alya as his knowledge of film making will allow him to help her learn the art of filming now that she's doing complex things like actions shots and editing together multiple recordings.

Nino is generally pretty laid back and likes to hear people out. His reaction to confrontation is to try to calm everyone down so that they can get to the heart of the issue. He wants everyone to get along, but he's also not going to let someone take the blame when they shouldn't. Nino protects the innocent.

Nino is incredibly protective of the people he loves. If someone he cares about is in danger, his peaceful nature goes straight out the window. He’s the kind of person who would happily take a bullet for his friends and family. This will lead to him following Alya around once the hero stuff starts because he wants to keep her safe. Never let Alya go out alone if Nino is around or even just aware that a fight is happening. Alya thinks "scoop" and Nino thinks "my Alya sense is tingling." He's NOT there to stop her from doing what she loves, he's just there to be her spotter who lets her focus on filming while he watches for danger, though that will initially be a struggle for him. Treat this as his audition/training for Carapace where he learns to balance protective instincts with getting the job done so that he's ready to perfectly take on his miraculous.

When Nino’s folks split up, his mother insisted that the kids should go to therapy to help process things. They had individual and family counseling. Nino was actually pretty cool with the divorce as he’d seen it coming, but his brother was really affected by it, so Nino spent his time working on ways to help Chris (and being told that he was a brother, not a parent, but he still wanted to help). He learned a lot from going through it and it’s why he’s so good at dealing with emotional issues. He’s also good at not taking those burdens on himself. He wants to help, but knows that it's your battle. Marinette often looks to Nino for guidance on emotional issues because she knows that she's terrible at navigating them. She has given him full permission to stop her when she's too focused on solutions over support. All of the friends will help Adrien figure out social situations, but Nino will be the main guide as he's the one with the strongest skills in that area. Plus Adrien makes Nino's protective big brother instincts go crazy.

Nino’s a bit of a loner by choice. He has "weird" hobbies that easily lend themselves to being done alone and he doesn't have any interest in "forcing" his hobbies on someone who doesn't actually enjoy them, so he spends a lot of time by himself and rarely invites others to share in his interests. He only does that when he thinks that they'll actually enjoy what he's sharing. He doesn’t mind this, but he’s also a very welcoming individual who doesn’t like to see people left out, so he’ll come out of his shell when he sees someone who needs a friend. This usually leads to him making friends who soon become closer with others, but still view him as a casual friend. He’s cool with that. He's just happy that they found their people. Adrien will be the first friend who really stays Nino’s due to an understanding of Nino’s “weird” hobbies. After all, Adrien’s the son of an actress. He’s used to weird indie films and discussions of cinematography. I'd even say that he revels in it and realizes that he has missed it desperately since his mom got too sick to do that kind of thing. Basically, Nino will fill a spot in Adrien's heart that Adrien didn't even know was empty. Adrien can listen to Nino talk about cinematography for hours and never get bored. Before Adrien, no one knew that Nino was this talkative!

If anyone wants more insights into this topic, feel free to send an ask, but I think we'll call this post done now because it's SUPER long.

[thehollowwriter]

Meet Finn Clearcove, Octavinelle's silent observer!

(Art by @authoruio (left), @quartztwst (middle), and @boopshoops (right))

Finn is an Octavinelle student from Night Raven College. He's seventeen and has a love for butterflies and art, especially music painting. He's got a spooky, dark secret that will be very much not a secret later in this post.

Some Basic Info:

☆Voice Claim: Muichiro Tokiro (sub voice played by Kengo Kawanishi)

☆Class: 2-C

☆Club: Gargoyle Research Club

☆Favourite subjects: Art, biology

☆Homeland: The Coral Sea

☆Species: Cookie cutter shark merfolk (half abyssal, half coastal)

☆Height/length: 147cm/4'9

☆Birthday: 20th November

☆Dominant hand: Right

☆Hobbies: Finn LOVES to paint, not only is he incredibly good at it (just not drawing people lmao) but it's his way of putting down his thoughts and feelings, often in twisted and unsettling imagery. He also loves tending to plants gardening, as well as studying butterflies (they're his favourite animals)

☆Likes: Animals, reading, cooking, music, making drinks

☆Dislikes: Loud noises, large crowds, bright lights,

☆Favourite food: Chocolate mousse

☆Least favourite food: Chicken

Personality:

Finn is very quiet and prefers to spend his time in quiet solitude. He's very anti-social, inexpressive (most of the time), and blunt. He's a character that, although capable of lying, doesn't beat around the bush during the times be does talk.

Finn is very practical and hands on, he likes to get things done and in an efficient manner. He prefers doing things by hand himself rather than using magic or relying on others.

He's immensely confident in himself and who he is, and it gives certain students a nasty surprise when they expect him to be shy and mousy. He may not fit the beauty standard, but he thinks he looks fantastic as well, thank you, though his teeth are a bit off a sensitive spot for him (he doesn't like them)

Finn sometimes misses social cues, but a lot of the time he notices and just ignores them because he doesn't understand the point of them, or the point of a lot of things considered the "norm" really, and he'd rather you just tell him what you're desperately trying to *imply* at him.

Despite his quiet and seemingly calm disposition, Finn is a fella that is ruled by his emotions. He's not on the same level as Floyd (or Morrigan lmao) but sometimes they do override his logical judgement, especially when he feels afraid. He's got a short temper and will not treat you kindly when he's run out of patience, especially if he's overstimulated and irritated already. When he was younger he used to get into fights with Azul's bullies and his own, and bite them and chase them off.

Finn isn't quite as sadistic Jade or Azul or, well, a lot of NRC students, but he'd be lying if he told you he didn't find it amusing or satisfying watching students who couldn't pay the price for their decisions grovel and panic. Or just messing around with students by himself.

Despite all this, Finn is a deeply caring individual towards those he's close to. He feels his emotions vert powerfully, especially love. (Platonic, romantic, doesn't matter). He will fuss over those he cares for and put an effort in to look out for them or protect them if he feels they need it. His main way of showing affection is giving them little gifts like bones, teeth, flowers, or little sketches or mini paintings. He will also be physically affectionate with headpats or something like that, though its more reserved.

(*ahem ahem* he has a horrible problem of enabling those he cares for and letting or helping them get away with shit because he wants them to be happy and doesn't really know how to provide that in any other away. He won't let them walk over or hurt himself though, apart from Book 3 but that's a long story...)

Appearance:

Finn has light amethyst purple eyes, long dark green hair, and dark green skin except on his palms and fins, where it seafoam green. Finn has swirling black markings on his back, shoulders, and arms. His left shoulder has a large patch of bad scarring. He has long black claws and nasty teeth that'll give the tweels a run for their money. They are smaller, but there are many of them and they look sinilar to that of an anglerfish's teeth, and his jaw is hinged in a way that lets Finn bite perfectly circular holes into things, like his irl counterparts do. His tail is just like that of a cookie cutter shark's. He has hard to notice freckles on his face and stretch marks on his stomach (and thighs in his human form).

Finn has a band of black scales around his neck, and from just below that all the way to his navel are photophores that glow in the dark, which helps him camouflage and can even make him look like a school of fish from below.

He's very short, noticeably shorter than both Riddle and Epel, but he is fat and that unfortunately means that on land, his clothes are either too big on him or too tight T.T

His human form is the same, except he has legs, is slightly taller, and isn't green anymore djdiso. The teeth and black markings (but not the one on his neck) also remain.

Important Things To Know:

☆Unique Magic: Mirror Image. He can copy the voice of anyone he directly touches and their physical form if he pushes hard enough. If he wants, he can limit it to certain characteristics. (E.g: voice or eye colour). He can also copy their unique magic. However, it often comes out "wrong" (for example, King's Roar will result in a goopy black tar instead of sand), and if it results in a physical object like Riddle's collar, the object will look nonsensical and ai generated

☆Finn is gay and polyamorous and is currently dating the octotrio and @theleechyskrunkly 's Aurinelle

☆Finn is autistic

☆Finn's dad Silas is an abyssal mer that taught him Abyssal magic, a form of magic thought to either be a myth or lost art. It is extremely powerful and dangerous, but Finn only knows a few spells so far and rarely uses it (he rarely uses magic outside of classes in general)

☆Finn is haunted by the ghosts of the siblings that he devoured in the womb. They cause him intense fear and frequent nightmares that have been affecting him negatively for a while now. They also make a sense of dread settle over anyone who look in their direction (aka at Finn because they always hover around him)

Finn's Family:

Finn's Papa is Silas Clearcove, a butcher originally from the Abyss. His other dad, who unfortunately passed away before he was born, is Morrigan Clearcove

Timo Byun is Finn's big brother figure and was also his babysitter when he was younger. Gale Angeles is someone he views in a similar light, but also kind of as an uncle? Most of his Papa's staff are like aunts and uncles to him.

Alastair Blair and Ezra Citlalli are Finn's godfathers. He doesn't see them often but they do their best to visit when they can and make sure they spoil him.

@distant-velleity 's Chrysos eventually becomes Finn's adopted brother :) atm he's Finn's favourite first year, who Finn views as a little brother.

Finn has a grandmother on Morrigan's side, as well as several aunts, uncles and cousins. He barely sees them and dislikes all of them.

Backstory:

Finn's backstory isn't particularly long or complicated.

Hewas born under depressing circumstances, freshly after his dad's murder and after eating his own siblings who ended up attaching themselves to him permanently. Those things aside, though, he's had a fairly happy upbringing brought down only by the ghosts or his classmates who would either avoid or bully him. He became friends with octotrio during their time at the land boot camp, and they fell in love and got together by the end of their first year at NRC. Most of the important plot stuff for him happens after Yuu arrives tbh

Some Fun Facts/Extra Info

☆Finn has a lot of first aid knowledge and is part of the school's first aid team

☆Finn has made a number of friends during his time at NRC! To name a few, @ramshacklerumble 's Gia, @the-banana-0verlord 's Lilian, and @tixdixl 's Kinglsey. There's more as I have moots with many ocs who just vibe well with Finn XD

☆Finn's voice is incredibly soft and ASMR worthy. It's oddly calming though sometimes you'll have to ask him to speak a bit louder

☆He's very good at flying and enjoys it a lot

☆He listens out for information that will benefit Azul, since when not looking directly at him most students don't even notice he's there

☆He sometimes goes to the beach to swim and catch fish to eat and/or share with his friends and partners

Art by @/clovenoko

...........................................

A/N: Yaaaay my boy got a redo! I hope ya'll like it :P

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