#like for example dragon age has background limitations right

[ineed-to-sleep]

I wanted to say, bc I saw someone mention Geralt as an example of a predetermined character in an rpg that works, that yeah, I fully agree it can work! But in Geralt's case, for example, he's a well established character who's fully written before you start the game. He has his own traits, his flaws and shortcomings, history, relationships, etc. He's just as well written as any other character in the story, and the only things you have power over are his choices and a bit of his fighting style(sometimes his hair as well), but everything is made to fit with who this character is as established before the game even starts. Think of the origin characters in Baldur's Gate 3, it's the same thing- they're not customizable, they're established before you even start, and the only control you have is over their journey. None of these are ever meant to be a blank slate, and they're written as such.

With this Phyre character it's like they're trying so so hard to tread the line between "this is a character that stands on their own" and "this is a blank slate you can fully customize". What you end up with is a very "meh" sort of character, who's not one or the other, without enough wiggle room to make your own story however you want and not enough to get attached to them as they are. We get attached to Geralt bc he's a fully written character in the game, you just control his actions. The problem with Phyre is that they're neither a fully written character nor fully yours to write.

[felassan]

Some more snippets of interest and insight from Mark Darrah, from an older Mark Darrah on Games YouTube video where he was livestreaming playing Dragon Age: Origins some months ago -

Chat asked "Do you think they'll ever explore why Dwarven Darkspawn can use magic?" and Mark replied "Maybe, I doubt they will explore that too much. I mean it's sort've, the question is is like, are genlocks all dwarves, or are they some dwarves and some 'something coming from a broodmother that aren't really dwarves anymore'. I guess that would be one out."

[source]

He also talked more generally about DA:O and the franchise and things in general. These bits are collected under a cut due to length -

"I do wish one of the factions in DA:O had their shit together so they could help you immediately, like just an extra throwaway one that's like 'yeah, we got our stuff all packed'"

Chat asked "Do you remember any other game studios in particular that BioWare studied and took inspiration from to make new games? I heard dragons in DA:I were inspired by Skyrim". Mark replied, "Every game is influenced by the space around it. DA:I is influenced by Skyrim in that open-world games were kind've the expectation of RPGs at the time, and if you're making an open-world game in the early 2010s Skyrim is certainly the one to be paying attention to. We definitely looked at it, so the answer to that question is everything. There are certain games that I would argue had very little influence, the ones that you would think might, things like Wind Waker and GTA. These are games that are either so expensive (GTA) or just took so long (Wind Waker) that they're way less influential than you would expect them to be, largely because game devs look at them as being un-replicable."

Did the Ash Warriors survive Ostagar? "Pretty sure that's an unanswerable question"

Chat asked "Did the DA team remove many toggleable abilities in later games? Noticed DA:O has an ABUNDANCE of them". Mark replied "Yeah I think we got rid of them because, stamina and mana are kind of a weird thing because I personally find it very awkward that you're limiting power usage based upon two things. So you've got a cooldown on individual powers and then you have a pool of mana/stamina. But so, it's been kind've a thing that's kind've fallen in and out of favor with the combat team there."

Chat commented "Was it intentional game design that on PC DA:I has only 8 abilities? I was real sad that even the focus abilities took a slot. Lots of cool combos I couldn't do Q_Q''. Mark said "I don't think it's intentional, I don't know why there's only 8 on PC. I mean it was balanced to that for consoles, but I don't think it would be, it's likely just a UI, like 'how much time we spent on the UI' thing. The shower answer is because 8 is the number on the consoles, but I don't know that there was any particular reason why it couldn't be more on PC other than just not having to worry about rebalancing. I'm pretty sure it's 8 on consoles so it defaulted to 8 on PC, it could have been more but then you have to also do balancing to see if it affects the combat balance and it just introduces another vector, so. Its's just less variables"

On the end cards/epilogue slides in DA:O - "DA:O was originally envisioned as being a one off, so there was a lot of timebombs set up in there, for example Orzammar is supposed to be in a civil war about now, now-ish, so like there's a lot of mess left by DA:O's cards"

"I was thinking yesterday about all of the intelligent races that've been sort've introduced in the background of DA:O, you know like the tree ents, and the ghasts and the giants, that've just kinda been introduced as kinda one-offs and then never brought back in Dragon Age." Here chat mentioned the lizard people. "That's right, we do have the lizard people in the paintings"

Chat asked "Would you agree that elven history is basically them Tevintering before Tevinter could Tevinter? They had magisters, and slaves, and wars". Mark replied, "I mean the elves as-presented are basically yeah, pretty much, the Tevinter are pretty much echoing many of the things the elves have done, and picking up their bits of discarded garbage and doing bad stuff with them, so yes I don't think the elves, I don't think ancient elven lore is anything to be super excited about in terms of not being terrible"

Chat asked "Can you speak as to why the healing spells weren't brought back for DA:I?" Mark replied, "Healing spells and regenerating mana mean that every single combat needs to be a threat on its own, which means in an open world, you can't basically do an open world with regenerating mana and healing spells because the combat in the open world is pointless, it's just a series of increasingly tedious road blocks because you can't make every single encounter with some bandits be a threat to your life. If you had non-regenerating mana or you had some sort of damage mitigation, then you could do damage mitigation, same kind've problem but at least it's sort've preemptive so you can kinda whittle away, or you could do no regenerating mana and then make that be your limiting factor"

Chat asked why DA:O wasn't turn-based. Mark said "Because Baldur's Gate isn't turn-based either, DA:O was definitely trying to evoke BG from a combat perspective, which is pause and play". He continued "one thing that I've always found frustrating with turn-based combat is it can, without some sort of auto-resolution it can make the minor combat really tedious, like 'I am definitely going to beat you, but I still have to go through five turns of combat because that's just how it's balanced'. Whereas way back in BG1, the thinking with pause and play was if you can massively overpower the combat you just don't pause, if you need to think more you can pause, so that's really where pause and play came from"

Chat commented that DA:O "does have a lot of rough edges that don't exactly puzzle together well in later games because they hadn't realized it was necessary". Mark said "Oh for sure there are rough edges around, both DAII and DA:I are actively trying to clean up the mess left by this game. There are too many.. DA:O has the problem of magic comes from a bunch of different sources, but yet it's not very well-defined, so since DA:O there's been an effort to kinda bring them together into something that forms a cohesive understandable metaphysics. You can have infinite sources of magic which you see in some fantasy where magic just comes from magic, which is fine, but that's not what we have in DA:O. We have blood magic and we have lyrium magic and we have the Ashes and spirits and darkspawn and the Taint and it's sort've, it doesn't know what, how these join together and that's been a thing that sort've loomed over the franchise. Better honestly to have had just, magic comes from magic, and not have to worry about it, but instead kind've had to slowly collapse the space into something understandable as time went on"

On teleporting in DAII: "I think it tries to explain itself through lore as being just moving really fast, I don't know if we bothered to do that in DA:I or if we just let it go. But yeah in DAII it's definitely presented as just moving really fast. The no teleporting rule is for two reasons. It's basically David Gaider putting a restriction into the IP because teleportation is, D&D has a, if you think about it, has a couple of really big problems. If you can teleport, what does defense look like? And if you have low level mind control how would society react to that? So blood magic is the response to the mind control, and the no teleportation rule is a response to how we deal with that, but I think, honestly you need to keep the door open. And in a computer game as opposed to just a tabletop game, you don't have to deal with some of the stuff, you can just make it incredibly rare as a solution. There are problems with the way things have been presented in DA, even in DA:O, that would introduce problems that are very similar to teleportation - you move through the Fade, that's like moving through the ethereal plane or the plane of shadows of what have you, which introduces exactly the same problems as teleportation. I do think that the presentation of how society views magic in DA, at least the background presentation (people are pretty much fine with you doing it), is probably pretty accurate to how society would view it. It's a tool, you're not gonna necessarily just go murder everyone but you're definitely gonna try to control it in some manner, especially in a society like this"

"Everything in Dragon Age is presented from the perspective of shining a light on things, but you can never draw a one-to-one connection with anything in real life. That's always going to be a restriction or maybe even an intentional thing to allow the conversation to exist. Doesn't mean there's not room for commentary but yeah it's not, the Dalish draw inspiration from a bunch of different places"

"I think one of the main reasons that sylvans never showed up again is that the models wouldn't have worked in future versions. That doesn't mean they couldn't have recreated them, but that's part of it. I think that part of the problem was getting the artists excited into making them. They are a custom skeleton, I mean you might be able to make them off of, say, the giant skeleton, they would obviously be different than the ones in DA:O, but yeah, there certainly would be a use for them but they would have to be rebuilt because the ones from DA:O are too old. You might be able to make something work on the Behemoth"

"The Behemoth is definitely an example of 'thing that was created because an artist was excited about it'. It's got a lot of weird shapes, so it's got a lot of trouble reaching things, so it's actually problematic from a gameplay perspective, but sometimes Art makes something and you work with it, sometimes Design makes something and you work wit it. I like that kind of back and forth, where the leadership on a specific feature can move around a little bit"

DA:I has a lot "going on so the mages and templars are kind've being pushed into the background [there] for sure, somewhat intentionally"

Chat commented "It just occurred to me that the monstrous spider model must've been made after this for DAII since there aren't any in DA:O". Marl replied "That's probably correct. Most of the models, despite the short development time, way more was rebuilt for DAII than makes rational sense"

[source]

(pls note that in places there is a bit of paraphrasing of the info, the best source is always the primary source with full quotes in their original context)

[mythaura-blog]

Development Update - October 2022

Hi all! Koa here, wishing you a happy Halloween to those of you who celebrate it and bringing you a recap of what the team accomplished during the month of October 2022. We decided to post this update a day early to give everyone a final reminder about our rapidly retiring Early Access Companion.

Key points covered:

Staff Design Contest Winner

Quarter 2 (2022) Voting Results

Early Access Companion: Final Reminder

New Sponsor Items

Feature Spotlight: Gear & Apparel

Ko-fi Shop Restructure

Code Update

More info available under the cut!

Staff Contest Winner

With bragging rights and a choice of movie on the line, Koa has won the staff design contest with her sky-blue Ryu. Thank you to all who cast their vote in our fun internal contest.

Quarter 2 (2022) Voting Results

So far it’s looking like the following concepts will be selected for our 2nd Quarter’s items. While voting will remain open until October 31st 11:59pm PDT, there is a substantial enough lead on them that we feel pretty confident that these will be the final results.

Q2 Companion Winner: Wishing Tree Spirit

Q2 Glamour Winner: Skeleton Dragon

Solid Gold Skin (staff selected): Adult Hippogriff

If for some reason another concept makes a sudden comeback, we’ll make sure to update everyone on Discord and on Kofi.

Early Access Companion: Final Reminder

Mythaura’s Early Access Ko-fi Companion, the Pearlescent Shellsnake, will only be available to Gold, Silver, or Bronze Sponsors who have or had a Sponsorship active on or before 11:59pm PDT on Monday, October 31, 2022!

As a reminder, the Pearlescent Shellsnake will NOT be available for individual purchase in the Ko-fi Shop later on, so if you are interested in receiving 3 copies of this endangered critter please check out our Ko-fi Sponsor Levels to see what other rewards you can receive for your patronage.

New Sponsor Items

We have some fantastic new sponsored items to show everyone from our generous Ko-fi supporters. These items can be found while adventuring or purchased from shops. The rarity backgrounds shown in these previews are not final and are just for demonstrative purposes.

Ghostlight Feather - A soft, iridescent black feather coated in a thin sheen of oil. The plumage burns blue when ignited, the flame cool to the touch.

Mossy Heron Carving - A carving of a heron perched in a rushing river, modeled after the crest of an ancient familial House from Sleeping Waters. Its smoothed surface speaks to many centuries of passing between hands.

A big shoutout to Feet and GreenHeron for sponsoring these items.

Feature Spotlight: Gear & Apparel

In Mythaura, players will be able to dress their beasts with various wearable items. These will be categorized into two distinct types of items: Gear and Apparel. While they both change the way your beast appears, they serve very different functions in the game.

Gear...

belongs to one of six distinct slots. (head, body, front legs, rear legs, tail, & appendages)

is limited to one gear piece per slot.

has stats & abilities associated with it that augment your beast when battling in the Arena or exploring a Wild Area. Sets often have bonuses for wearing the entire set.

can be hidden for those who want the stats but don't like how a specific gear piece looks.

are for adults only and generally will be for all breeds, with exceptions for things like heritage armor sets.

can be crafted & improved at the Terragon’s forge or purchased from various NPCs or players, or earned as loot/rewards.

Apparel…

does not belong to or use up any slot.

is cosmetic only with no stats or modifiers associated with wearing them.

can have a generous amount equipped (actual limit TBD).

can be made for any number of breeds & ages. For example, only for young Dragons or for adult Kirins and Unicorns. Some may start limited for a single breed, and be expanded later into multiple bases.

is obtained by buying from various NPCs in-game, from other players, or earned as loot/rewards.

Ko-fi Shop Restructure

Now that the shop has matured and we have some orders under our belt, we will be restructuring the custom items in the shop.

Design a Skin is being removed from the shop.

All Custom Gear is being removed from the shop and replaced with Custom Apparel with some new pricing and features. When you sponsor an apparel item you will select a base (e.g. Adult Quetzal) that the apparel applies to. Visit the shop to see the updated prices and categories.

Companion Sponsorship! We are going to offer monsters in the shop. These will be tamable companions that can be battled in the Wild Areas or purchased from shops with in-game currency.

A note about recolors & multiple bases

We can offer recolors with an additional fee of $20 per recolor (up to 3 total recolors). We can also add additional bases at a rate of $20 per base. The intake form sent to you after sponsoring an item has been updated to allow for selecting these add-ons. These must be provided upfront, you cannot add more recolors or bases once the intake form is submitted. If you request any of these add-ons, we will reach out to you with instructions on how to pay for the additional work. Bulk pricing for those interested in apparel being made for every breed is available.

Sponsors will get 5 copies of each of their recolors.

Code Update

October was a huge month for one of our key features - the concept of battling your beasts with another player. Over 5,000 lines of code have been added this month, nearly all of it for battling!

We’ve begun the process of adding descriptive alt text to our items and implementing accessibility features. This will be an ongoing process, but our programmers are both well versed in ADA & WCAG 2.1 compliance and we want to make sure Mythaura will be an accessible game for all to enjoy.

Thank you!

Thanks for sticking through to the end of the recap for our month of October! This was a busy month for our staff, and we are working on some very exciting features to show you in the coming months.

We’ll see you on December 1st with a recap of what we accomplish in November. Hopefully, we'll see you around the Mythaura Discord in the meantime!

[cienie-isengardu]

Erron Black. Arguably a character I don't know much about. Is Erron Black feminist, sexist, or just soft on girls? Now I know MK everyone can fight everyone, but in story mode...

In MK10 Milenna impale his hand with a knife, but he doesn't fight her. I'll except injury for that one.

But then with Cassie Cage later, he fights her, only after she engages him, but once he knocks her down he stops fighting her to fight Kung Jin in the market.

Later on the bridge fight, we do see him fighting Jacqui Briggs, in the background, but she charged him, so she initiated it, and when they focus in he is fighting Kung Jun again.

In MK11, when young Erron Black goes after Jade and Kotal, he let's Jade leave without so much as a glance.

In the Black Dragon fight pit, even though she is right next to him, he ignores Sonya Blade until she actually attacked him. He doesn't even point the other gun at her, he points it up and looks away, until she punches him.

The only time it looks like he initiated a attack on a woman was when Sheeva got shot in her shoulder armor (and shrugged it off), but we immediately see him chasing down Nightwolf, so that looks like a accident. And they only fight after she punches him across the room.

And in the comic's when he kidnapped Cassie and Jacqui he defended them against Kano, telling him not to hurt them, and when he realized they were in serious danger, tried to free them and help escape.

Unless I'm missing something, well he doesn't avoid it, he doesn't fight initiate fights with women.

Before I will talk at length about Erron Black and his attitude toward women I wish only to emphasize this is my subjective opinion and there is no need to agree with me on this. Because no matter how much source material will be brought into discussion, there are many ways to interpret his mindset, especially since A) what Erron says is not always compatible with what he is doing and B) the specific game mechanics that limit and/or adapt his “personality” to the needs of the storyline.

Long text ahead!

Mortal Kombat X’s stated Erron Black was hired by Shang Tsung 150 years ago. So he was born and raised at least the previous century and half, thus his approach to women may be old-fashioned but I wouldn’t say he was somehow deeply concerned per se about gender to begin with. Yes, the mentioned examples suggest otherwise but their context is as important as Erron’s action alone. Because the context of the game will not always work well with in-universe logic. I’m talking here stricte about game mechanics that are built around chapter’s main hero that must win against the opponents and in the mentioned examples Erron was sadly just an obstacle to beat down so it is not like he could headshot Mileena, Sonya or Sheeva or any woman and be done with the problem despite how marksmanship is his forte. Also, the game mechanic in MKX kinda made me joke that Erron shouldn’t be left on his own for too long because his competence in those chapters seemed that bad (from Outworld’s main cast only D’Vorah looked to me as a competent character and she was a traitor, that says a lot about Kotal’s team doesn it?). Anyway, on the basis of the specific nature of the game alone I wouldn’t go so far to judge Erron’s mindset, especially since he was a background/supportive character in MKX and MK11 story modes. So far, Black didn’t have his own chapter - thus the story isn’t told from his POV.

To be honest, games and comics present Erron in different lights, thus his approach to women may vary from one source to another. Because of that let’s firstly look at the sources separately.

In MKX, on Kotal’s voiceless order, Black was going to kill Rain. Mileena attacked Erron by surprise before he could shoot down the rebel but it was Kotal’s chapter so the emperor was the one that dealt with her. Erron was part of the background during chapter 2 without any impact on the story.

Then we have chapter 4 about Kung Jin.

When Cage Team met Erron Black for the first time, the man demanded to know what is Special Forces’ business here including “a reason why we shouldn’t kill you”. Despite the not so friendly welcome, Erron was willing to address Takeda’s remark (“I can read you… You’re not from Outworld.”) and did not resort to violence once Cassie’s explanation did not satisfy him. Looking at the uncertain situation of Outworld, Erron’s lack of trust is understable - Kotal was still at war with Mileena thus in constant danger. Of course, it is up to interpretation, did Erron listen to Jin solely because the prospect of money spoke to him so much or there is some bias (thus the cynical remark about Raiden’s seal and dismissive attitude) against Cassie, the woman in charge. I personally tend to think Erron was simply cautious because the last Earthrealm that got close to Kotal tried to kill the emperor. And yeah, Kano is nothing like Cassie, Jacqui, Takeda or Jin but there was no way for Black to know that for sure, especially since Outworld and Earthrealm weren’t really at the best terms at that time and Raiden’s name did not foreshadow anything good.

The next sequences may be interpreted as Erron being soft on women but I’m gonna present here different possibilities:

Once Jin went ahead to disrupt the execution, Erron’s first reaction was to shoot him yet Black took aim instead of shooting blindly without care for the crowd (or at least the slow down of his action is how it looked to me). Because he was focused on Jin - the main culprit whose action caused unwanted riot, Cassie easily stopped the attack. Should Erron be more focused on the female soldier at his side? Most likely, but all of this happened in mere seconds so I can understand why stopping Jin acting on his own accord was priority to the mercenary since it was related to his job and he was the one that agreed to take Earthrealmians to Kotal. Which may be the reason why Black just knocked down Cassie and immediately ran after Jin. And mind you, Erron knocked down Cassie by hitting her on the head with the butt of the pistol, which is not a gentle way by no means.

The chapter 6 is focused on Takeda and partially on Cage Team’s run from captivity. The Earthrealmians were important hostages, even if falsely accused of working with D’Vorah. So it makes sense that “Outworld Champions” weren’t trying to kill them. Otherwise Kung Jin would be shot down for good yet Erron kept him just at gunpoint. Once again, the game mechanics don’t make much sense considering how Jin stayed behind as air support but somehow ended up on the bridge while Jacqui disappeared somewhere in the background. Also, the same as with Cassie in Chapter 4, Erron did not kill defeated opponents nor tortured / injured for fun (Rain is a different matter because Erron went for killing only after Kotal’s voiceless order to finish the traitor).

In Chapter 11, Erron is even more degraded into a support role and he did not attack nor take part of the skirmish in the forest until Jacqui beat down Kotal. Personally I suspect he could be (in universe) too injured for hand to hand combat but once Team Cage was surrounded and Kotal gave the order for execution, Erron was aiming at Jacqui and if Sub-Zero did not show up, Black most likely would shoot to kill.

(Also, he did not shoot any enemy from a distance, so the women and men were treated the same although if this is a matter of game mechanics or Erron’s own moral code, hard to tell. Black recognized himself more as Outworlder than anything else so he may actually follow the common there idea of one on one fight.)

So, MKX story mode alone does not tell us much about Erron’s mindset about women because he has never been the one starting fights in the first place. This kinda makes sense since he is a mercenary and kills or injures only those who Kotal wishes to see dead or punished. Besides that he didn’t injure / kill Cassie when he had a chance but he didn't do so with Jin either. MKX!Erron gives the impression of a collected, detached type of person who is far from macho stereotypes or psychopath/sociopath like Kano.

Thankfully there is additional information like dialogue intros and Erron’s ending (from what we learned about Erron's approximate age) that aren’t canon per se but at least give some insight into his psyche.

The best counter argument for eventual Black’s habit of going easy on women is his own ending in which he ambushed and killed Cassie, Jacqui, Takeda and Jin (this situation was repeated in Briggs’ ending except this time Cage Team was saved by Jax). This is a rare moment in which Erron was the attacker and on his own initiated the violence toward others. In this case, he attacked women and men alike.

Then we have intro dialogues in which Erron usually deals with people in a professional manner, some even sometimes addressing in a polite way. Like “Mr. Kung” to Lao, “Mr. Hasashi” to Scorpion and “Mr. Takahashi” to Takeda. Surprisingly, he addresses Cassie and Sonya by their military rank (Sergeant Cage and General Blade respectively) which suggests that whatever Erron learned a century or two ago about gender-related social norms most likely evolved accordingly to his own life experiences, especially those gained in Outworld.

At the same time, it seems some of outfashioned - harmful - convictions are still enough deeply rooted in him to say stuff like that:

Kenshi: The friendless wanderer.

Erron Black: Least I don't take orders from a woman.

Kenshi: Which century are you from?

Which is kinda ironic since Kenshi takes orders from Sonya whom Erron addresses by high military rank without any snide comment about a woman in the army. But as far as I managed to check the intros, this is the only(?) one outright sexist thing Erron said to anyone and surprisingly, he didn’t say that to any woman, just to Kenshi. Frankly, if the idea of taking orders from women was so offensive, why would Erron bother to call Mileena the Crownless Queen or Kitana the Fallen Princess, if both titles by itself imply facing women that are used to give commands or even hire people like him? Once again, there is little to no sexist attitude toward women in context of their power over other men. Which suggests that whatever prejudices Black may have, he does not allow them to affect his interaction with other characters. Usually, at least.

Okay, the insult toward Kenshi could be some of Erron’s deep-seated sexist beliefs adding to the reason why he didn’t support Mileena in the fight for the throne. Yet, at the same time, if that was the case, he could outright say he doesn’t agree to be bossed by a woman to her (or he could be accused of that by her or any character really). Of course, it could be something similar to Black’s claim to care only about money with MK11 strongly hints he is saying one thing and doing differently but I will come back to this topic in a moment.

Another argument against this insult: Erron was one of the characters that did not mock Mileena’s look, origin or called her crazy. If he really thought listening to women's orders was so bad, then he didn’t show that when interacting with her or other female characters.

At the same time, like many other male characters, Black is not immune to the beauty of women around him and some of his comments sounds disrespectful and are unwelcome by the ladies:

Sonya: The gunslinger.

Erron Black: I could take you away from all this.

Sonya: I must be a jerk-magnet.

→ Sonya is not amused by Erron’s words at all.

Erron Black: Hello, beautiful.

Jacqui: Messin' with the wrong girl.

Erron Black: But it feels so right.

Jacqui is like the only one woman described by MKX!Erron as the beautiful one, the other he usually referred to along the lines of hot / sexy. Yet once Jacqui outright warned him to not mess with her, Erron deliberately ignored her because it amuse him. Whatever it is a sign of an old-fashioned mindset (a remnant of the times he grew up) or just simply (male’s) egoism on his part, Erron likes to flirt with women but he does not always respect their opinion or wish to be left alone.

At the same time, Erron rarely tried to change women’s minds about him or their eventual relationship. So far, only the intro dialogue with Kitana seems to be the exception:

Kitana: Stop!

Erron Black: We've barely begun, my lovely.

Kitana: It will end quickly.

Black may put his own amusement above other people's personal comfort, yes, but didn’t act creepy like Kano did, especially toward Blade-Briggs-Cage family as a whole.

So we have this

Jacqui: I really don't like you.

Erron Black: I really don't care.

Jacqui: As long as we're straight on that.

in which Erron doesn’t care for Jacqui’s dislike of his person but doesn’t impose himself on her. He does not resort to the common rapist “excuse” that woman says no but her body says otherwise, like Kano did (“Your mouth says Kano, but your eyes say Kan-yes.”) and this contrast puts Black in a more positive light. Similar thing happened in the intro dialogue toward Tanya.

Erron Black: My friend, Tanya.

Tanya: We are not friends, bounty hunter.

Erron Black: Have it your way...

Again, whether trying to be friendly or ironic, once Erron was “turned down”, he simply accepted the situation without any additional crude remarks.

Interestingly, interaction with Sonya showed that Black was capable of rethinking his statement about hot/sexy women:

Erron Black: Girls with guns? Always hot.

Sonya: I'll shove 'em up your ass and fire.

Erron Black: Almost always hot.

Those examples suggest Erron may treat women differently, depending on their “fighting experiences”, age and origin and maybe even how sexually / aesthetically appealing they are to him. For example, veteran Sonya’s threat was taken seriously while (novice / new generation) Jacqui’s warning was ignored. At the same time, the intro dialogues didn’t hint at any romantic or sexual interest in Ferra (a young female symbiote) nor D’Vorah (Kytinn) and relatively good looking Mileena who deserves a separate paragraph.

To be honest, Erron, Johnny and Kano are like the main three men openly showing their (sexual?) interest in women around them. Understable, Black’s flirting / comments rarely were appreciated yet he still was less creepy or aggressive towards others than Kano. Erron didn’t bother to hide his eventual (sexual) interest in beautiful women but it can’t be said A) he had no control over his sexual drive and B) has rapist / sexual predator tendencies.

Another interesting thing: with few exceptions like Kano or Quan Chi, Erron threatened people with violence usually after they offended him and most of the time maintained professional neutrality toward his rivals. In that regard, Erron treated other characters the same regardless of their gender.

This is something worth keeping in mind how Black, as mercenary, in general is not the initiator of violence. Unless someone will pay him. For money, Erron would attack (kill) anyone, including women (to Tanya, “The Kahn wants your head.” + Erron’s Epilogue).

The last detail to talk about: one of the intro dialogue with Cassie suggests Erron thought she was an easy opponent.

Cassie: Is something funny?

Erron Black: I'll win this easy.

Cassie: You're going down hard.

but to be fair, he thought the same about Sub-Zero

Erron Black: You're an easy target.

Sub-Zero: As are you.

Erron Black: Bullets beat snowballs any day.

so I wouldn’t say it was the bias toward Cassie because of her gender and just Erron’s own arrogance (and maybe lack of good judgement on his part).

In summary, MKX!Erron in game alone tends to act in a professional manner. He had an occasion to shoot defeated opponents but did not seize the opportunity against not only Cassie but Jin as well. During the storyline he was rather collected, emotionless. In intro dialogues he openly expresses his interest in tough, relatively attractive women yet the banter is far from the creeping tone of Kano’s interaction with female characters.

Then we have Mortal Kombat 11 in which past and future timelines are messed up. Sadly, Erron’s characterization departs from the neutral-polite one seen in the previous game. Of course, this could be blamed on the younger version of Erron, but frankly, twenty years for someone living at least for a century and half shouldn’t make that big difference in behaviour and well, MK11 outright claims Erron is prone to violence for violence’s sake instead of just money. Which is one of many plot-holes and divergences between both games I guess.

Anyway, Erron, again, was the background character to beat down, so it is worth remembering that he couldn’t permanently hurt or kill anyone from the main cast. In chapter 2 he let Jade get away when he was facing Kotal and frankly, there is little explanation for that in-universe wise. I personally suspect it may be related to Erron’s own sense of honor, as in respecting one on one fight without cheap moves like shooting someone’s beloved person. Not practical in the mercenary job but it is possible for someone born and raised around two centuries ago. Also, Shao Kahn’s anger was focused mainly on killing Kotal for taking the throne. Because of that Erron could be not interested in Jade who simply did not have any significant political matter at that time. Sadly, it is really hard to say for sure what was on his mind.

In chapter 6, past!Erron stormed the Special Forces Base alongside Black Dragon members. There were women in that group but sadly, Black did not interact with anyone beside Johnny Cage. We can at least assume, Black did not mind fighting side by side with women.

Similary, present!Erron in chapter 7 showed up in the background during the alliance attack on Coliseum. The attack was led by Kitana (albeit did Erron join her to save Kotal out of loyalty or for money, it was not explained) and there were female fighters in the group. It seems then Erron does not mind fighting side to side with women.

During the pit fight (chapter 8), past!Erron faced the past!Sonya and the past!Johnny. Frankly, the same as in the previous chapter, game mechanics make little sense because there was no real reason for Erron to open the ring and face the characters when he could simply shoot down both from a safe distance. This really undermines the whole point of Black being a gunslinger, isn’t it?

Anyway, Cage took the forward position (which I think is both because despite his injuries he tried to shield Sonya AND because he actually met Erron during an attack on a Special Forces’ base) and got shot in the arm. After a short skirmish, Erron knocked down Johnny and aimed to kill the injured man.

The most logical thing for Erron in this situation would be to shoot down Sonya first and then finish already beaten down and exhausted Johnny. In defense of the Black though it is worth emphasizing that he didn’t completely ignore Blade nor turned away from her.

Most likely the weird slow-down action of aiming at Johnny was a moment of distraction that Sonya simply used to attack. Similar to MKX, game mechanics do not allow Black to headshot the main heroes, even though, in-universe, he should do just that and be done with the job. There is also a possibility that past and present Kano still wanted to keep Sonya alive for their own amusment (torture and sadly most likely rape) what could explain why Erron didn’t shot her from safe distance. I mean, the game alone did not voice what Kanos really ordered Erron to do.

I know that MK games like to slow down action for dramatic effects, but I strongly believe it was actually a matter of a few seconds of distraction (Erron looking aside to shoot Johnny and aiming) that Sonya took advantage of rather Black ignoring her on purpose. Even more since Black did not hesitate to shoot at her and seemed to enjoy facing “the legendary” Sonya Blade.

The same as MKX, Mortal Kombat 11 does not explain Black’s mindset. He does not shoot Jade or Sonya when he has a chance but he does not make any rude remarks toward women in general. However the intro dialogues shed a light on the complicated relationship that Erron has with women.

From what we learn about Erron, his childhood was far from normal or safe. We don’t know details, but what he shared with Cetrion and Cassie strongly suggest that Erron’s both parents were abusive people:

Cetrion: You shot your own father, Erron Black.

Erron: Sonofabitch had it coming.

Cetrion: Honor thy parents, mortal!

or

Erron: My Ma would’ve loved you, Cassie Cage.

Cassie: Aw, sounds like you miss her bunches.

Erron: I hated Ma.

or

Erron: I grew up around tough women.

Cassie: Didn’t they teach you respect?

Erron: They taught me to hit back.

The last statement suggests young Erron was abused by women (most likely including his own mother) to the point he is now willing to hit back anyone regardless of their gender without remorse. Erron himself says “I ain't above shootin' a lady” (intro dialogue vs. Sonya).

Beside that, an abusive mother alone could influence Black’s approach to women - and most likely she did, since he admitted to hate her. Surprisingly, Erron uses the past tense (“I hated Ma”) so there is a chance he gained distance over time in that matter. It also seems like whatever he feels about mother usually doesn't affect his relationship with other female characters. For example, in the mentioned banter he did not insult Cassie for reminding him about the abusive parent. Despite the bad childhood intro dialogues hint Black actually likes dangerous women.

Erron Black: I stepped out with Nitara before you.

Skarlet: You clearly have a type, Erron.

Erron Black: Just like living dangerously.

Like in the previous game, Erron openly shows his (sexual) interest in various women. The interesting change however is how:

His interest extends now to more alien-looking female characters like Nitara or Sheeva. Surprisingly, Mileena’s advances are still rejected. Also, Erron has like zero respect for the goddess Cetrion but to be honest, he does not respect any god.

Erron is more disrespecting by using nicknames like Legs or Baby Doll for Sonya or Sugar for Cassie. Of course, it may be just the “charm” of younger Black - hard to tell in most cases which version is speaking - but it creates an overall feeling of ironic, at times irritating or insulting approach to female fighters. At the same time, there are women that Erron refers to in a rather consistently respectful manner - Jacqui (Miss Briggs, Little Lady), Jade (ma’am, missy), Kitana (Princess, Kahn).

Before I will focus on the complex situation with Mileena, I need to talk about Erron’s important trait: he often says one thing but does the opposite. This is especially noticeable in intro dialogues concerning money and loyalty. Both games agree the main motivation for Black is a good payment, albeit MK11 highline also the thrill of danger. Anyway, Erron admitted he is willing to betray Kotal, a current employer, if someone offered a better deal (“Until a better offer comes along.”, “There's always a better offer, Kotal”). This strengthens the impression Black cares only about himself yet he rejects all propositions coming from Kotal’s enemies such as Shao Kahn, Rain or Mileena, Quan Chi, Shinnok and Kano/Black Dragons. At the same, he is willing to work with/ for Kitana who happens to be the best friend of Jade, Kotal’s beloved. Which makes Erron still operate in a group wishing no harm to the ex-emperor.

I’m bringing this into discussion because there is strong possibility that under the tough guy act, Erron still follows some “old-fashioned” sense of morality and is decent enough to not attack or harm women (and in my opinion, people in general) unless A) it is part of the job or B) is self-defense. Which could explain why he let Jade walk away or why he didn’t shoot Sonya from a safe distance but faced her in hand to hand combat. Depending how long he lived in Outworld, he could simply adapt into local customs - the people of Outworld are a combat-focused society and because of that have a strong sense of honor code. Erron’s eventual softness toward female fighters would get him in serious problems and I doubt he could afford such weakness when serving Shang Tsung or Shao Kahn.

So, why did Erron not want to serve Mileena, the designated successor? As the Empress, she was in position to offer the best (materially wise at least) deal after all.

In MKX!banter Erron claims Kotal paid him better:

Mileena: You aided the usurper.

Erron Black: He offered more coins.

Mileena: ...and no protection.

Meanwhile, MK11!Black outright says it was not a matter of money but of Mileena’s behaviour. Considering how prone to violence she was, it is no wonder why Erron decided to work for someone else.

Erron Black: Now what's got you all rip-snorting mad?

Mileena: When I gained the throne, you abandoned it.

Erron Black: Wasn't no pay worth dealing with your crazy.

This brings me back to the MKX’s banter suggesting Erron may dislike being bossed by women. Considering the implication he is currently negotiating a proper deal with Kitana Kahn (“New Kahn, same deal?”), the problem is more complex than judging someone by gender alone. I mean, Erron worked for Shao Kahn who himself was a cruel tyrant so sadism shouldn't be anything new for Black, right? Except, he was hired by Shang Tsung and because of that I think it is highly possible Erron had just indirect contact with the Emperor. Thus Erron could be not ready for Mileena’s unstable nature(?) and cruelty.

I mean - Erron comes from a pathological family and grew up around tough women. In his opinion Cassie has some traits or behaves in a way for which his mother would’ve liked the girl. So there are certain things that Black connects to hated mother. Now, Cassie is more of an extrovert type of person, showy and with sharp ripostes but she is one of the good guys and cruelty for fun is not her thing. So, if someone like Cassie can somehow make him think of a hated parent (that most likely is dead for decades now), how much Mileena could trigger Erron in the wrong way? To the point he chooses his mental health over money and/or thrill of danger?

If this is true, we may further wonder if bad experiences with tough women in childhood are the reason why despite flirtatious nature, Erron’s interest in female fighters usually is strictly sexual attraction? Because it really looks like he does not try to emotionally connect with women. Even his “thing” with Skarlet seems to be more a matter of thrill than a serious relationship, considering how Erron was okay with her eventual death.

(The possibility of Erron being freaked out by Mileena also rises an interesting question about her mental state between MK9 and MKX)

This is why I think Erron did not have a problem with working for women as long as they did not remind him too much of past abuse. And this is pretty nice implication, considering how tough guy Erron is for most of the time.

Because of that, Kotal questioning if Erron is jealous of Jade could be read in different way too:

Erron Black: So, you and Jade, huh?

Kotal Kahn: Jealous, Erron Black?

Erron Black: She's quite the looker, Kotal.

And yeah, Erron brings this to the matter of appearance alone, but hopeful as I proved earlier, Erron sometimes says one thing but does (thinks) something totally different. Because of that I suspect he may not be really jealous of Kotal for having a sexy lady but actually of the relationship itself. You know, build on respect and love than just build on sexual drive.

Like I said before, the game cutscenes and character banters may be interpreted in many ways but for me MK11!Erron Black - at least the older version - seems to mask his trauma and/or complex nature of his relationship with women under the act of tough guys. At the same time, there is a high possibility he still follows an out-fashioned sense of honor and though he is not above shooting women, he does not attack them unless it is demanded. Though to be fair, in my opinion this is how he approaches everyone. A mercenary’s mindset that distinguishes him from the likes of Kano.

In Mortal Kombat 11: Aftermatch, Erron met Sheeva, when the Shokan Queen in the company of Fujin, Nightwolf and Shang Tsung carried a coffin to the Soul Chamber. Black and Baraka decided to confront the Shokan woman and it quickly turned into a fight (and the typical game mechanics).

There is a question though - did Erron really take Kitana's offer or did he stay with Kotal? Because it’s really suspicious that he happened in the place where defenless, injured Kotal was in the healing process. Anyway, whatever the case, Black directly or indirectly worked for the new Kahn so it is highly possible his actions were dictated by Kitana’s best interest rather than his liking or disliking anyone.

Let’s just look at the situation - Kitana is the empress but she promised to treat her allies as her equals. That means Sheeva, as well respected Shokan Queen, plays an important role in the new regime - killing her or permanently injuring was out question, otherwise Shokan people could rebel against Kitana and in result the freshly established peace would go straight to hell.

In my opinion, this is why Erron asked Sheeva’s group to go with them quietly so the situation could be explained to Kitana without unnecessary violence. Black actually was okay with Sheeva go to Soul Chamber as long as Shang Tsung (Shao Kahn’s sorcerer) and the suspicious coffin was returned to him. Thanks to Shang Tsung, one of Tarkatan warrior died and thus the situation got out of hand. It makes sense Erron was more focused on Shang Tsung (hated by Kitana), Nightwolf (whose current self is revenant) and Fujin than on Sheeva who, potentially, was protected by political immunity.

When the Shokan Queen beat down Baraka, Erron in my opinion did not try to hurt her, only fired a warning shot. Maybe to make sure Sheeva will not kill Baraka (another important leader whose support Kitana needed to uphold the peace in Outworld). The Earthrealmers on other hand were another matter. Maybe Erron was too trusting or too reckless to not pay more attention to Sheeva or simply didn’t really think she was the traitor. It was after learning she is trying to resurrect Kitana’s evil mom - a dangerous, not consulted with Empress decision - Erron faced Sheeva in hand to hand combat.

Not much to analyse here, especially not with limitations of game mechanics yet I strongly believe Erron’s course of action was dictated by political situation and Kitana Kahn’s best interest so killing or seriously injuring Sheeva could be out of question. Also, like I said previously, Black is rarely the aggressor, what I believe is related to his mercenary’s mindset.

The last source, Mortal Kombat X comics series, requires a little clarification: I treat it as a potentially additional insight into Erron’s psyche than any real canonical material. Partially due to many plot-holes but also because of overwhelming violence used for violence’s sake alone. That said, here what happens:

Earthrealm (Special Forces) and Outworld (Kotal Kahn) weren’t on the best terms. To help Kotal, Erron and Black Dragons kidnapped young (under 21 years old) Cassie and Jacqui and took them to Outworld. During the journey through the dangerous jungle, girls tried to run away but got hurt in the process by Kano. Erron openly talked against brutal treatment of prisoners.

Looking at the difficult situation of Kotal, it was in Erron’s best interest to keep Cassie and Jacqui in one piece. Otherwise the whole plan would fail and then Kotal would be forced to deal with really pissed off Sonya Blade. And that would take a bad turn for Black himself. But like I said earlier, the tough guy act could also cover Erron’s more empathic nature that in the mercenary world was seen as a weakness to exploit. I personally think he did not like torturing people if that was unnecessary but also that he would have spoken against it even if Cassie and Jaquie were boys.

Then the Red Dragons attacked to take over hostages.

(Once again, a tough guy act with the “girls are Kotal’s property” as in cover up his worries about the situation or his true mindset, or mix?)

When the fight started, Erron went to tied hostages:

One one hand, Erron needs the girl to stay alive and not be taken by the enemy. On the other hand, he does not promise them safety nor ask them to run away. He is freeing them so the two girl (both under 21 years old) will fight against experienced criminals armed with swords and other dangerous stuff. This is actually an interesting detail, because it suggests Erron thought Cassie and Jacqui had a chance against thugs or that at least that way they wouldn't be a burden to him.

Jacqui punched him and Erron, either was taken by surprise or did not want to hurt her, was “saved” by Kano. And then betrayed by the Black Dragon leader.

Kano’s worlds raise a question, how much Erron is driven by the money and how much he uses the tough guy act to actually hide his unwanted “vulnerability” (as in, having moral sense and not being the heartless psychopath like Kano).

My general conclusion about Erron is that, for a side character he has a really complex relationship with women around him. I strongly believe that Erron sticks to some old fashioned sense of honor that mixes well with a mercenary's mindset. Thus rarely he is the one attacking first. This most likely influences his interaction with female fighters but at the same time, Outworld is not a place where people are judged by gender but for their skills and powers. So, Erron living there for decades for sure got influenced by that mindset to some degree.

I would not call him a feminist - not because he couldn’t be one but for lack of proper material to analyse. Feminism has many shades but in the most general sense is about establishing the political, economic, personal, and social equality of the sexes. Erron does not show much opinion on that matter and does not interact with “common” women; those truly weaker than him, disabled or anything else other than warriors, soldiers or queens. With lack of such interaction there is no chance to come to a proper conclusion.

Does Erron have a soft spot for women? It is possible but that would not stop him from hitting back or killing them if the situation called for such action. I think the safest option is just that Erron is in general a more emphatic and honorable human that he wants to admit, to not look weak or be exploited by others. In contrast to Kano, Black for sure has some moral code he follows no matter what. Even if this get him into trouble more often than not.

Hope it answers your question!

[emachinescat]

Way Back Wednesday #1

Welcome to Way Back Wednesday! Every Wednesday, I am delving into my past as a fanfic writer and reflecting on and sharing one of my stories… starting from the very beginning, 16 years ago, when I was a 14-year-old kid discovering her love for fandom. ❤️

Today’s story is…

An Unlikely Team

American Dragon: Jake Long & Kim Possible

Summary: Monkey Fist and Huntsman have teamed up in order to defeat their respective foes. With Monkey Ninjas, goblins, dragons, nacos, spy gear, magic potion, secrets, regrets, and tears, no one is going to escape from this situation without changing somehow.

Rating: G

Chapters: 18 | Words: 12,353

Year Published: 2005 | My age: 14

Relationships: Jake Long/Rose | Huntsgirl | Characters: Jake Long, Ron Stoppable, Kim Possible, Monkey Fist, Huntsman, Rose | Huntsgirl, Lao Shi, Fu Dog

AO3 Tags: Crossover, Suspense, Humor

My reflections on and "review" of the story are after the break! :)

Oh, wow. It was an adventure coming back to this story! It marked a lot of firsts for me - my first crossover, my first story above 10k words, my first chapter fic. I don't remember a whole lot about my writing process back then, or about the circumstances of writing this story. I was 14, and a lot has happened since then. I do remember that I was still coming off the review-high from my first story, and that I had no idea what I was doing, not really. And it kind of shows.

I guess I should go ahead and say that this story, like the last one, isn't bad. I mean, the plot, if a bit simple and contrived, makes sense and moves along fairly well, and the characters (except for Rose, but we'll get to her in a minute) are pretty well portrayed, and grammatically, there were no glaring errors that I could see. It was interesting enough; it has been probably a decade or more since I last opened this story, but it still managed to hold my attention well enough, I suppose. It has some very positive reviews (and some critical ones), so I must have done something right.

But I've got to go over the issues with this story. Most of them I think are just hilarious. I'd been writing since I was five, but I was new to this kind of storytelling and still trying to find my voice as a writer. Once again, it shows.

Okay, so first, there's the plot itself - super simple, very contrived, and kind of weird. Huntsman and Monkey Fist team up so that M can help H capture and unmask the American Dragon, and in return, H will give M a talisman that will "undoubtedly" make him the Ultimate Monkey Master? Sure, seems legit, I guess.

Then there's the fact that I had to end every chapter - or nearly every chapter - with a cliffhanger, even if it didn't warrant one. I was dying laughing because most chapters would end with a character saying something hopeful to another character, but then muttering under their breath something grim and suspenseful. For example: "'Let us go. Jake's life is depending on us. He is alive for now...' and then he added almost inaudibly, 'but not for long...'" It's hilarious, and I wish I could remember if I was trying to be edgy or just ensure readers would come back, or if I thought being ominous was a hallmark of good writing. Also, the chapters were overall very short. I think I just wrote however much I felt like writing and then posted. Of course, I was having to post between school and the Boys & Girls Club where my mom worked (and being grounded, like a lot), so I guess I just wrote what and when I could.

Some of the dialogue's a bit clunky, and I had a weird thing with time limits. They capture Jake, and then they have to send Huntsgirl out to get a potion that will make him human because they forgot (???) this very important part of the plan for some reason. She says something along the lines of, "My Huntstick will transport me to the magical black market almost instantly. I'll be back within an hour." That doesn't add up, unless she's going to spend an hour haggling with the seller. Then she gets back, amps up the whole evil villain plot, and then adds, "Oh, yeah, it'll take 30 minutes for this potion to take effect." So she and the baddies just stand there for half an hour watching Jake slowly turn from dragon to human. Then when he's been poisoned (another weird plot contrivance), Lao Shi says, "If we don't give him the antidote in 30 seconds, he'll die!" I suppose I did set the scene, whether intentionally or not, by having a clock ticking in the background, but the way that all of the characters seem to have such an acute knowledge and understanding of time is just weird to me.

The only aspect of this story to actually bother me is the disservice I did to Rose's character. In the show, she's portrayed as a pretty strong protagonist-by-day/antagonist-by-night, but in my story, she's pitiful. I don't know if I just consumed a lot of media with weak female characters or what, but it's super cringey how emotional and weak she's portrayed as once she finds out the truth about Jake. She cries, which is fine, but then girlfriend just up and faints! She cries some more, begs Jake to forgive her, acting like she'll never be able to live with herself or forgive herself if he doesn't, then gets mad at him when he needs a little time to process that the girl he has a crush on is also the girl who's been trying to kill him. Then as soon as he apologizes for... being traumatized, I guess? she turns around and starts spouting off stuff about never being able to forgive herself if he'd died or something. I apologize most deeply to her character.

Oh, I just realized I haven't really discussed the Kim Possible side of things, mostly because it's pretty cut and dry. Those characters all seemed to be, well, in character. I especially feel I had Ron down to a T. It was also really funny the way I had Huntsman and Monkey Fist constantly arguing even through their alliance. The fight scenes, with Kim and with Jake, are very minimal. They're usually one step above just saying, "They fought." On that note, there's not a whole lot of detail or description, but a lot of dialogue. I definitely could have expanded more on the world to make the crossover feel more complete.

All that (mostly light-hearted) criticism aside, it was fun to get to go back and read this, and if you think you'd be interested, be my guest. It's a cute little read, and important to me because it marked the second step in my fan-fiction journey.

Next week, we'll be taking a look at one of the cringiest things I've ever written - yikes!

[skinks]

hi!!! what are your favourite movies? like actually good ones but also any trashy comfort movies? is IT (2017) one of them?

Hello!! IT (2017) IS ABSOLUTELY ONE OF THEM oh man, thank you for this, I love talking about movies!!!! This is possibly the most difficult question you could have asked me. Apologies for how absolutely off the rails this got, I just... love movies so much lmao

I’ve said this before, but opening night of IT ch1 was the best cinema experience I’ve ever had, I’m so glad I got to see it with a fully packed audience who were all laughing and screaming together the whole way through. I’m a huge fan of... everything ch1 was doing, the 80s nostalgia, the summer-coming-of-age themes, the solid ghost train funhouse JOY of the Pennywise performance and scares, the washed-out cinematography, the tiny background details to make everything that much more eerie, the kids’ ACTING?!

Like, a lot of the time I find child actors can be really awkward and stilted to watch, but I remember leaving the cinema really impressed by JDG and Sophia Lillis in particular. I liked that they were all allowed to be little shitheads with potty mouths, it felt like a callback to 80s movies like The Lost Boys or Stand By Me. The whole thing worked to make me really care about what happened to the kids (even if I do still have issues with how they handled Mike. I understand even ch1 had limitations with juggling so many characters, but still). I saw it another 2 times in the cinema and have rewatched it at least, I dunno, 7-10 more times since then?

Add to all of that the retroactive CANON R+E baby pining subplot? I just love it, as if that wasn’t obvious by now given my Whole Blog. It’s a really special movie to me!

Anyway!! Ok, the main handful of movies I rewatch all the fucking time are:

Back to the Future, The Lost Boys, Pride and Prejudice (2005), Jaws, Ferris Bueller’s Day Off, The Breakfast Club, Ocean’s 11, POTC 1, The Dark Knight, Inception, Die Hard, LOTR trilogy, Snatch, The Nice Guys, Logan Lucky, Mad Max Fury Road, Clueless, 10 Things I Hate About You, Billy Elliot, Dirty Dancing, Tomb Raider (2018)...

Those are the easily consumable ones that I’ve seen so many times I don’t really have to concentrate or think about them, but I really love them and unfortunately often KEEP rewatching them instead of new stuff. It would take too long to go into why I love all these movies so much because I could write the same amount as I already did for ITCH1, and everyone already knows why those movies are good, so, lol.

I think I’m gonna have to subdivide and categorise this whole post because there are too many separate criteria for... goOD MOVIES, AUUHH 😩

Okay so first off, HORROR MOVIES? I’m especially in love with Re-Animator (1985) and its sequel Bride of Re-Animator, they’re such good examples of camp and batshit 80s practical effects, and also EXTREMELY funny. I’m actually just gonna post my list of my fave horror movies that I do actually keep on my phone at all times lmao. These are in no particular order:

Wholeheartedly recommend every one of these. I’ve never been so scared in my life as I was watching Hereditary in the cinema, hoo boy. Mother! by Aronofsky is one of the strangest experiences I’ve ever had (and I actually saw it on the same day I saw IT ch1 for the first time!! That was a fun day)

Psycho (1960) and The Fly from 1986 should also be on there but I couldn’t fit them in the screenshot.

I’m a HUGE fan of a ton of martial arts movies too, like Kung Fu Hustle, Shaolin Soccer, Ip Man, The Raid movies, John Wick 3 is my fave of the trilogy, Drive from 1997 with Mark Dacascos is incredible, SPL 2, Ong-Bak, Operation Condor, Project A, Iron Monkey, and Zatoichi (2003) are some favourites.

My favourite Tarantino is Reservoir Dogs, fave Coen brothers are Raising Arizona, The Ballad of Buster Scruggs and O Brother Where Art Thou. Love some old-timey colour correction and weird offbeat dialogue. I also love Goodfellas!!! And Donnie Brasco! And The Firm, I’m so easy for any good crime/law/gangster/heist procedural like that, especially if they’re from the 80s or 90s in a super dated way.

Fave Disney movie is Tarzan, favourite Ghibli movies are Spirited Away and Lupin III. I remember watching Spirited Away during a thunderstorm one time and it being.... god! Transcendent! Favourite Pixar movie is The Incredibles (the first one. ALSO the documentary “The Pixar Story” is great and well worth a watch, it’s very comforting for some reason) and my favourite Dreamworks movies are HTTYD1 and Spirit: Stallion of the Cimmaron.

I tend to watch more anime movies than tv shows, so stuff like Akira, The Girl Who Leapt Through Time, Summer Wars, Journey to Agartha, and my ultimate fave anime is Sword of the Stranger (2008). The climactic fight in that movie is fucking stunning and should be counted in “bests fights” lists right alongside anything live action

Also if we’re talking animated movies another hearty favourite is Rango, and a Belgian stop-motion (which at one time I considered my favourite movie ever) called Panique Au Village (2009) which is one of the funniest movies ever made imo.

As for TRASHY movies, I’m not sure if that’s the right word for how I feel about these ones but.. dumb/silly/slightly guilty pleasure movies? Ones that I feel need some kind of justification lmfao

Troy - something u must know about me is that I’m a giant slut for the Assassin’s Creed franchise, so if a movie smashes historical and mythological nonsense together with fun costumes and sword fights, I’m gonna enjoy myself. Even if they should have made Achilles and Patroclus gay. Other movies in this vein are King Arthur: Legend of the Sword, and Immortals (2011)

Gods of Egypt - I know all the reasons this movie is whitewashed bullshit. But it was already bullshit with giant Anubis mecha and giant snakes and bad acting and ridiculous CGI and frankly I had a blast at the cinema (my friend who I forced to come with me did not have a blast. Sorry H***)

Avatar - yes, the one with the big blue people. This movie gets a lot of flack nowadays but I really do enjoy it just for the spectacle. The full CGI world technology was so new at the time and I love to wallow in the visuals and daydream about riding a cool dragon around in the jungle

George of the Jungle - I’ll defend this movie to the death ok this movie shaped me as a person, it is fucking hilarious and Brendan Fraser is the himbo to end all himbos. It’s perfect. The song Dela is perfect. I still want to write a reddie AU about it. It’s one of the best movies ever made and I’m not being ironic

Set It Up - I KNOW this is a dumb Netflix original romcom but consider this; it was funny and the leads had great chemistry. I got butterflies. I once watched it and then literally immediately set it back to the start so I could watch it again

The Brady Bunch Movie - when people talk about great satires or parodies you will see them bring up the same movies over and over again, Blazing Saddles, This Is Spinal Tap etc, but they never talk about The Brady Bunch Movie from 1995 for some reason, which they should. It is one of the funniest things I’ve ever seen and every time i watch it somehow it gets funnier

Some more general favourites that I do still love but don’t rewatch as often, and don’t wanna go into more detail about are:

Moon (2009), Crna Mačka Beli Mačor, The Sixth Sense, Parasite, The Handmaiden, Tremors, Wet Hot American Summer, Tucker and Dale vs Evil, What We Do In The Shadows, Hunt For the Wilderpeople, The Secret of My Success (I love kitschy 80s movies, is that obvious by now), The Green Mile, When Harry Met Sally, Rear Window, The Odd Couple, Breaking Away, Pan’s Labyrinth, To Kill A Mockingbird, The Eagle, Gladiator, The Artist, The Extraordinary Adventures of Adèle Blanc-Sec, Call Me By Your Name, Master and Commander, Pacific Rim, Kiss Kiss Bang Bang, Legend (1985), Emma. (2020), Flash Gordon, Trolljegeren, Hross í Oss, Beverly Hills Cop, Coming to America, WarGames, District 9, Ajeossi (2010), Tracks (2013), Sightseers, Mud (2012), Pitch Black, Four Lions, Shaun of the Dead, Starship Troopers, The Truman Show, Withnail & I....... Jesus Christ ok I need to stop

NOTABLE EXTREME FAVOURITES that I didn’t include in the regular rewatch list because they’re too heavy/not as well known/require more attention.:

Thin Red Line (1998), Badlands (1973) both dir. Terrence Malick

Malick’s brand of dreamy impressionistic filmmaking is something I find really appealing, both of these movies are gorgeous and unusual and poignant and, in the case of Thin Red Line at least, have a lot of things to say about a lot of rough subjects. I don’t totally understand all those things sometimes, but a theme with a lot of my favourite movies is that I’ll be more likely to love something long-term if it raises unanswered questions, or is surreal/esoteric etc. Plus the cinematography is incredible, and I wish there was a way to get Jim Caviezel’s narration from The Thin Red Line as an audiobook because it’s very poetic and soothing.

Let the Bullets Fly (2010) dir. Jiang Wen

This movie is WILD, it’s so much fun. It’s sprawling and intricate and epic and smart and really fucking funny, it! Has! Everything! A gang of very tolerant outlaws!! Jiang Wen’s beautiful broad chest!!! Chow Yun Fat absolutely DECIMATING the scenery, and the two of them outsmarting each other in order to gain control of a small Chinese town!!! Plus it’s long, but it packs so much nonsense and intrigue that it goes by really fast. Wow what a flick

A Field in England (2013) dir. Ben Wheatley

I know I included this in my horror list but aaaaahhh ahhhh Wheatley is one of my favourite directors (he also made Sightseers, and is directing the Tomb Raider sequel which makes me absolutely rabid.) This is a surreal black-and-white psychological horror black comedy set in the English Civil War about some deserters who may or may not meet the Devil in a field. People eat mushrooms. It’s bonkers. I love being blasted in the face with imagery that I don’t understand

Mandy (2018) dir. Panos Cosmatos

Speaking of being blasted in the face!!!!! This movie... I saw it in the cinema and I can’t even begin to explain the experience, but I’ll try. My favourite review site described it like this:

“...somewhere between a prog album cover come to life and a metal album cover come to life, and subscribes to both genre's artistic tendency towards maximalism: what it ends up being is basically naught else but two glorious hours of being pounded by bold colors...”

So, prog and metal are my two favourite genres of music. This movie opens with the quote “When I die, bury me deep, lay two speakers at my feet, put some headphones on my head and rock and roll me when I'm dead.” and then a King Crimson song, it is SURREAL to the nth degree, it’s violent and bizarre and Nic Cage forges a giant silver axe to destroy demonic bikers and there is a CHAINSAW DUEL. A galaxy swirls above a quarry. Multiple animated horror nightmare sequences. At one point a man says “you exude a cosmic darkness” and releases a live tiger. At another point Cage says, in a digitally deepened voice, “The psychotic drowns where the mystic swims. You’re drowning. I’m swimming.” and I haven’t stopped thinking about it for two years

Paper Moon (1973) dir. Peter Bogdanovich

Really fantastic movie set in the Great Depression (and also in black & white) about a conman and a little kid who may or may not be his daughter, running cons across the Midwest. It’s beautifully shot, so sharp and sweet and the progression of their dynamic is really well done because they’re played by an IRL father and daughter. Tatum O’Neal was NINE YEARS OLD and she’s so amazing in this movie she’s actually the youngest person to win a competitive category Oscar. I keep trying to get people to watch this fbdjfjdbf it’s wonderful

Alpha (2018) dir. Albert Hughes

THIS MOVIE IS A VICTIM OF BAD MARKETING ok, the trailers made it look like some twee crappy sentimental Boy And His Dog Adventure, plus it had voiceovers in American-accented english? That’s a total disservice to one of the coolest things about this film; the fact that they got a linguist to construct an entirely original Neolithic language that all the characters speak for the entire runtime. And yes, it is eventually a Boy And His Wolf adventure, but it’s COOL and fairly brutal, and it has some really incredible cinematography. The landscapes are so strange and barren and alien, you really get the sense that this is an ancient world we no longer have any connection to. And it’s also about like, the birth of dog & human companionship sooo it’s perfect.

Free Solo (2018) dir. Elizabeth Chai Vasarhelyi, Jimmy Chin

The Free Climbing Documentary. I loved climbing as a kid, I love outdoor sports, and I love movies that elicit a physical reaction in me, whether that’s horny, scared, real laughter, overwhelming shivers, or in the case of Free Solo - HORRIBLE SWEATING TENSION. Like, I knew about Alex Honnold beforehand because of this adventure film festival I go to every year and I followed him on IG so obviously I knew he lived, but the actual climb itself was torture. My hands sweat every time I see it!! It’s incredible, such a cool look into generally what the human body can do, and more specifically, why Honnold’s psychology and life means he’s so well suited to free soloing. It’s such an exercise in getting to know an individual and get invested in them, before they attempt something very potentially fatal.

Brokeback Mountain (2005) dir. Ang Lee

I can’t even talk about this. When I was around 13 I snuck downstairs to watch this on TV at 11pm in secret, and my life was forever changed. I wouldn’t be who I am if I hadn’t seen Brokeback at the age I did. I seriously can’t talk about this or I’ll write an even longer essay than this already is

God’s Own Country (2017) dir. Francis Lee

The antidote to Brokeback Mountain, I’m so glad I managed to see this one in the cinema too. It makes me cry every time, as someone who’s spent years working on a cold British farm with sheep it was very realistic, which is expected since Lee grew up on a farm in Yorkshire. I love that this movie isn’t really about being closeted, but about being so emotionally repressed and self-loathing that the main character finds it so hard to accept love. Or that he deserves to be loved. The cinnamontographies.... lordt... but also the intimacy and sex scenes are fucking searing wow who hasn’t seen this movie by now. 10 stars. 20 stars!!!

Tomboy (2011) dir. Céline Sciamma

I saw this years ago but I’ve never forgotten it, it cut so deep. It’s from the director of Portrait of a Lady on Fire and it’s about a gnc kid struggling with gender and misogyny and homophobia in a really raw, scrappy way, it reminded me very much of my own... childhood... ahh the central performance is amazing for such a young age. I haven’t seen Portrait yet but I feel like if you went nuts for that, you should definitely check this out, it’s lovely.

Donnie Darko (2001) dir. Richard Kelly

EVERY TIME I WATCH THIS MOVIE I UNDERSTAND LESS AND LESS and that’s what I love so much about it. I love surreal movies, I love time-fuckery and stuff about altered perception etc etc and Donnie Darko scratches all my itches. I wish I could find a way to figure out an IT AU for it, because I know it would work! Somehow! Plus it’s got the subdued 80s nostalgia and I found it at an age when I was really starting to explore movies and music and the soundtrack FUCKS.

Offside (2006) dir. Jafar Panahi

I wish more people knew about this!!! It’s an Iranian film about a disparate group of women and girls who are football fans and want to watch Iran’s qualifying match for the World Cup, but women aren’t allowed into the stadium, so they all get thrown into the Stadium Jail together? They don’t know each other beforehand, but it’s about their changing relationships with each other and the guards and just, their defiance alongside hearing the match from the outside and WOW it’s so lively. Great dialogue and very funny, and such a different kind of story from anything you usually see from Hollywood.

The Fall (2006) dir. Tarsem Singh

This movie... I guess it’s the ideal. This is the platonic ideal of a film for me, it has fantasy, magical realism, glorious visuals, amazing score and costumes and production design and a really interesting, heartbreaking relationship at the core of it. I don’t know why so many of my favourite films feature incredibly raw performances by child actors but this is another one, Catinca Untaru barely knew any English and improvised so much because of that, and it’s fascinating to watch! Also the dynamic with Lee Pace is one of my favourites, where a kid forms a friendship with a guardian figure who isn’t their parent, but the guardian grows to really care for them by the end. It’s like Paper Moon in that sense. What is there to even say about this movie, it’s pure magic joy tempered and countered by genuine gutwrenching emotional conflict in the real world, it’s also ABOUT old moviemaking, in a way, and it’s stunning to look at!

Mad Max Fury Road (2015) dir. George Miller

I know I included this in my “most rewatched” section but it deserves its own thing. We all know why this movie is fucking incredible. I remember clutching my armrests in the cinema and feeling like my skeleton was being blasted back into the seat behind me and tbh that is the high I’m constantly chasing when I go to see any movie. What a fucking gift this film is

Théo et Hugo dans le Même Bateau (2016) dir. Olivier Ducastel, Jacques Martineau

I only found this movie last year and it became an instant favourite. Initially I was just curious because I’d never seen a movie with unsimulated sex before, but it’s so much more than the 18 minute gay sex club orgy it opens with. No, not more than, AS WELL AS. The orgy is important because this movie is so candid and frank about sex and HIV treatment in the modern day, it was eye-opening. Another thing that really got me is that I’d never seen a real-time film before. It’s literally an hour and a half in the lives of these two men, their intense connection and conversation and conflict in the middle of the night in Paris, with some really nice night photography and just!!! Wow!!! AMAZING CHEMISTRY between the actors. This is such a gem if you’re comfortable with explicit sexual content.

Ok. This is already over 3k but film is obviously one of my ridiculous passions and I can and do talk about it for hours. I’ve been reading magazines about it for years, listening to podcasts and reading review blogs and recently, watching video essays on YouTube because the whole process is so interesting to me and I want to learn more!!

Recently I’ve been thinking a lot about the concept of valuing form over narrative. The idea that story can often come second to the deeper physical experience and emotional reaction that’s created by using ALL the elements of filmmaking and not just The Story, y’know? Whether that’s editing, shot composition, colour, the sound mix, the actors, how it should all be used to heighten the emotional state the script wants you to feel. And so, I think for a few years now this approach has been influencing the types of films I really, really love.

I think I love surreality and mind-bending magical realism in films specifically because the filmmakers have to use all those different tools to convey things that can be way too metaphysical for just... a script? I’m always chasing that physical response; if a movie can make me stop thinking “I wonder what it was like to set up that shot” and instead overwhelm that suspension of disbelief, if I can be terrified or woozy or crying for whatever reason, that’s what I’m looking for. That’s why I watch so many fuckin movies, and why I’ll always remember nights like seeing IT (2017) for giving me another favourite.

Thank you again for this question, I didn’t mean to go so overboard. Also there’s no way to do a readmore on tumblr mobile so apologies to anyone’s dashboard 😬

[mihidecet]

How to d&d 3: Characters

Hello hello everyone! I hope you're all having a magnificent day! Today, we're going to start looking into what characters are! They are going to be the main thing that you, as a player, will have to deal with, so we're in for a loong ride!

[I should mention, the term used to describe whether a character was an elf, a dwarf or anything else has always been "race", and its variants are "subraces". Thankfully this is changing with the latest 5e book, which will refer to them as "origins". This is also the term I will be using, but if you check out any d&d manual published before Tasha's Cauldron of Everything "origins" is not the term you will find. I figured I should mention it just in case.]

So, characters.

Before you start playing in any campaign, the thing you always do is create a character. This is of course because your character is the one actually interacting with the story.

The main thing with making a character involves, at least in my opinion, the realisation that you're going to be roleplaying as that character for a while. 

Depending on how long the game you'll be playing will last, which can range from a single session to even years, I always make sure to take into consideration the type of character I can actually feel comfortable playing. 

This is because most of the time, you will find yourself (within limits) acting out what your character will do. 

Please note I never, ever, said you should consider whether or not you will be "good", only comfortable. 

This is not meant to be an acting competition (even though if you can act well that is extremely cool and I admire you for it), so it will not matter whether or not you're as charismatic as your character! If you want to play someone who's good at talking and loves charming people, you don't have to be good at it! You just gotta be ready to charm everyone ;)

This is, I think, the first step of making a character: thinking who you'd want your character to be. 

Do you want to play a bookworm who is also a ray of sunshine? Or maybe a good hearted soldier with a dark past? What about a badass pirate looking to avenge their father? Or a naïve but ambitious inventor? 

(These are for example some of the characters I've actively played in campaigns)

That is of course not the only way you can choose what to play: you can choose a class, or even choose a whole build (class, origin, background and possible plans for higher levels) and then decide how you want your character to be after. 

Or you can pick a character you know from a show or a book, and decide you're going to roleplay as them. Or even an old oc of yours. 

There is nothing stopping you. 

Just do what feels right and what you feel like!

Once you do have in mind who your character is going to be, it's time to start choosing. 

Most of the times, you will look at your options and try to fit what your ideal character would be onto what is available.

First, you can consider your class. That is, in my opinion, one of the most important choices, because your class gives you most of the abilities with which you will interact with the world. 

For example, if you want a heavy damage dealer who can also tank, possibly with no spells involved because spells you don't feel like using them, then a barbarian is what you're looking for. Not intrigued by the "mindless raging beast" vibe it gives you? Maybe a fighter could be better. 

Do you want to cast spells, but don't want your character to be a nerd? First of all, ow, my poor wizard/artificer heart. But secondly, rejoice! There are so many options! 

Want to be cool and maybe a bit dangerous? Warlock might be good! Are you born with it? Sorcerer! 

Do you like being a support? Boy does 5e have options for you, other than the "expected" cleric! 

Want to be wise and a furry? Druid is the class for you! (Jk druids aren't all furries. But they can turn into animals. They don't have to. But they surely can)

((I will do a breakdown of all the available classes later, this is just to give you an idea of what character creation is like))

Then, there are also origins. 

Usually, your character being an elf or a dwarf or a human isn't usually that game changing from a story-only point of view (unless you're playing in a campaign which is set in an elf-only region, in which case any other origins will feel a bit out of place). 

This is to mean that any origin-class combination is allowed (unlike past editions or some videgames, I'm looking at you mageless dwarves of Dragon Age). 

But your origin usually gives you some bonuses to your ability scores, which can be strategically used to make your character stronger.

What are ability scores? 

They are six values, ranging from 1 to 20 (generally) that determine your character's characteristics. 

If you've ever played Dragon Age, or Baldur's Gate, you've already encountered them (they're also in other games but I am absolutely blanking atm). 

These six values are:

Strength, which determines how hard your character can hit stuff and how much they can lift. A barbarian should have high strenght, and half-orcs get +2 to strength. This is why there are many half-orc barbarians. 

Dexterity determines how good you are at throwing or shooting stuff (with accuracy), and it also determines how good you are at moving around (stealth is connected to dexterity). 

Constitution influences your life points and how good you are at resisting poisons and similar effects. 

Intelligence is book-knowledge and the ability to make deductions (you know, put two and two together ;) ).

Wisdom is life-knowledge, patience and just like, thinking before acting. 

Charisma is being good at interacting with others, whether it be to persuade, to sing, to perform, or to lie, or to intimidate.

So, as I mentioned before, all origins come with bonuses to your ability scores. I suggest, personally, to not take into consideration said bonuses if they go against what you wanted your character to be. You want a charismatic half-orc sorcerer, but half-orc has no bonuses to charisma? Should you move to a half-elf, who has a charisma bonus? Hell no. You want to be a half-orc? Be it! You can!

And finally, as this is starting to be a bit long, your background. This is just what your character did before they entered the situation of the campaign itself. This also gives you some bonuses, but once again: there is no need to make an optimized character if you don't want to! I have made plenty, and was never disappointed!

But I should also say that if you're into number crunching and min-maxing, there are plenty resources online! I'll go into it a bit if you'll want me to, but I'd say it would be a future thing ahah

[paperwick]

Dragon Age Tarot Style Guide: Part Two

The second of my at least three part set of tarot tutorials. This sentence will link to the first one on composition if you haven’t seen it. It’s been a four year gap between these, and I apologize for that. To all you who messaged me and reminded me of this project, thank you. You kept me from forgetting and I’m glad. <3

It won’t be another four years until I post the next segment, which will be pattern and texture focused. It’ll hopefully be in the next month or two. 

This is going to be a long post, so I’m putting it under the cut. Apologies to the mobile users! 

As a general disclaimer, this is an unofficial guide, I’ve never worked with Bioware. All of this is based on how I approach tarot design, my inspiration being heavily rooted in Dragon Age Inquisition’s companion card designs. 

Secondly, I know nothing about tarot. I tend to use http://www.ata-tarot.com/resource/cards/ heavily as a resource for my understanding of the cards and their meanings.You don’t need to know anything about tarot to do illustrations, just have as much fun as you can. <3 

So I typically work with a color composition in mind, but for those who are struggling to imagine a color scheme, my best advice for coming up with a palette is to just throw down some colors in this sort of an arrangement.

Your Main is going to be whats forming the base of the card, or it’ll be the most widely used color. Backgrounds usually make up the main, but sometimes it’s a foreground element or the character’s clothing. 

Your Cores are going to be colors that accent the base. You can make these pretty wild to be honest, but complementary colors and triads tend to work best for a balanced color composition. That’s what you’re trying to achieve with these--balance. Think about what’s drawing the most attention. The red in this example I did with the Iron Bull is very strong, and the teal I chose is fighting with it so my last color is something a bit more desaturated that accents the teal instead of picking another aggressive color, like a saturated yellow. 

The Accent or HL color is whatever you’re going to use to add the final focus notes. It will typically be your brightest or your most saturated color, though not always. Sometimes your HL color might be the darkest of the composition because your main and core colors are naturally bright. It should be used sparingly, or if you’re using a lot of it, focused in one area.

You can use more colors than this! For my example card with Bull, you can see I made his pants a sort of subdued yellow and added accents to the background and lit parts of his body in in different colors, But you’ll want to keep your major colors limited to keep it cohesive. If you start losing cohesion, I recommend using a gradient map over your picture set to multiply or soft light (not at 100%) to tone down your most divergent colors, and you can mask out areas where appropriate. 

This Bull card is one I made by picking my colors first then deciding on the content and composition. Color picking can be done first, or second as I’ve done with the rest of my examples. 

Card #1: Rayne Amell   [ @dracoangel​ ]

The Queen of Cups

This card went though several iterations with color, and the end product is less about story and more about atmosphere. The drawn composition reflects more of the story: she conceals her thoughts and feelings, but the world bends around her like water. I wanted to add more purple to this card, considering the character’s preference for it, so I skewed the color scheme in the final to be more purple. The first version probably makes for a more cohesive palette, but it lacks the same depth and drama as the one with purple. I added another core color to the second palette, which is totally okay to do. Sometimes the core palette might be 7 colors, sometimes it’s 2. The idea is to strike a balance. Colors that are super eye catching like the red in the scarf might better serve the composition as a lesser accent, whereas the purple core is a great fill because it’s fairly desaturated and doesn’t demand as much attention.

The HL color takes up a fair amount of this composition, but note that it’s strongest in the top two thirds, and is centered in the top third. The foreground water also cradles it against one of the darkest purples of the card, which helps center focus up top.

Card #2: Valora Lavellan [  @kylorensprettymuchanasshole​ ]

The Devil

This was the most difficult of the palettes, I’m working with two separate light sources in two wildly different locations. On the one side you’re at an ancient elvhen temple, on the other, in a burning chantry. It only made sense to have two different palettes for this composition. Where I really failed here was in not having a color that bridged the two sides. If you can engineer a color to be in between two differing palettes, you’re in a good place. 

With that in mind, I revisited the thumbnail. 

The execution is a little weak, but the idea works. The bridge color could work in either of the palettes and is a midway point between the two most similar values of the core colors. It’s used primarily where the separate palettes meet each other smoothing that transition. In this instance, it also helps to define the figure and double down on where the focus is, since before it was fighting between the top left and bottom right corners. Now the focus works as a diagonal from one corner to the other.

Double palettes are hard, but can make for some truly dynamic color compositions.

Card #3: Iothari Mahariel [ @theuselesspotoo ]

Six of Swords

This card was a struggle for completely different reasons. The palette is pretty homogeneous, primarily purple, with a hint of green. This one could use far more variation, and the challenge is in driving interest with such a limited palette. This is where your values are going to be super important. Your darks vs lights are always hugely apart of composition, but in limited palettes they do the most work in driving interest. Make sure to break up some of your larger and more prominent shapes with value differences, the snow vs the dark stone beneath it.

If that isn’t enough though, there’s a few tricks that can help push focus where you want it without heavily changing the color scheme. 

We have three very distinct planes in this; the sky, the distant mountains and skyhold, and the cliff the figure is standing on. We can push the far mountain plane back by reducing the brightness of it, and we can pull the nearby plane closer by adding stronger highlights to the lit areas. I also brightened up the figure since they were getting lost in the sky a bit. 

In addition, I popped the foreground colors with just a bit more red, to separate that plane from the more bluish purple mountain plane. 

Just those small changes really sharpened up the focus of the composition, and we were able to keep the palette fairly limited. 

Card #4: Tighe Lavellan   [ @queen-scribbles​ ]

Nine of Wands

This palette was a breeze compared to the others. We’re working with complementary colors, reds versus greens, and very little divergence in either direction. The bottom half is primarily reds, the top greens, and they meet in the middle with a soft orange and harsh yellow. Palettes with complementary colors are the easiest to work with, the important part is making sure their balance works with your drawn composition because they like to fight. All of my reds are limited and desaturated because the greens and yellows, by the nature of the composition, are the most demanding elements. 

Card #5:  Lathari Lavellan [ @jisabeau​ ]

The Chariot

I knew what I wanted for this one immediately when I started it. I really wanted the character to be falling into a void, to mirror their emotional crisis when dealing with the deadly white bear of their past. But though this works fairly well as a base palette, it’s really missing the intense horror I wanted when I started. 

So in my edits I pulled them further apart, and pushed the darks even further. The challenge here is having a dual focus, since I don’t really know if either stand out enough from one another at this phase. I have to pick a focus, either the bright whites of the bear or the strong orange/green tones of the character. 

This is probably the strongest focus-wise.

But I enjoy the color notes of this one far more. 

The point here is, sometimes things aren’t perfect, and that’s also okay. Pick your favorite, or at least pick one, and take that to completion. It’ll occur to you while finishing it what I needs. Which brings us to the final point, similar to that of tutorial part one: 

Final Note: Don’t spend overlong on one thumbnail. I’ve spent days in the thumbnailing stage, that’s fine, but don’t spend more than 1 hour on any one color thumbnail drawing; it’s not worth it. If an idea is good but not great, just start a new thumbnail of something similar, and you’ll stumble onto the right composition.

Remember to explore your own color intuition. My way of doing this might be helpful, but if it’s not, don’t feel compelled to follow it. Everyone has a unique vision, and we’ve got to feel out our own paths. 

If you have any questions, send them to paperwick [at] gmail [dot] com under the heading “Color Tutorial: Questions”, OR comment on this post (I might not see them on a reblog) and I’ll pool them into one area and answer as many as I can in a separate post.

Finally, I’d like to give another shout out to everyone who sent their character breakdowns to me for this. I wish I had time to get to all of them, and I really appreciate you taking the time to put them together! Thank you all so much!

Not making promises on when Part Three will come out, but it WILL be coming out. Thanks for reading through all this, I hope it’s been helpful. 

[scottymcgeesterwrites]

Final Fantasy Review

Year: 1987 Original Platform: Famicom Also available on: Nintendo (NES), GameBoy Advance (Final Fantasy I & II: Dawn of Souls), PlayStation One (Final Fantasy Origins), PSP (Anniversary Edition) Version I played: PSP

Synopsis:

The world is in danger. Four monstrous fiends, each corresponding to an element of nature, have wreaked havoc on the world, causing each of the four elemental orbs (in later remakes, crystals) to turn dark. Four Heroes of Light, each holding their own orb, meet and band together to take on these fiends and restore nature to its proper balance.

Gameplay: The original game introduced the Job System. The six jobs are Warrior, Thief, Monk, Black Mage, White Mage, and Red Mage. Each have their own stats. You are free to name each of your heroes. Later on the game, each job can be upgraded.

We are introduced to a classic setup of turn-based combat. Final Fantasy was notable for being the first video game RPG to show your characters on the right and the enemies on the left; all previous video game RPGs had a first-person view with the enemy directly in front of you.You choose your action between Fight, Magic, Drink, Item or Run. Then the enemy takes their turn.

It’s a simple system that at the time was already well-known. It was really the Job System that intrigued players. Black Mages perform destructive magic, White Mages heal and restore, Warriors are the powerhouses, Monks deal damage without weapons, and Thieves can run from battles successfully (they cannot steal, as later games would introduce that). The game can be quite difficult on the original Famicom and NES. It was made at a time when technology was limited, so developers had to make the game harder so that people spent more time playing it. There’s a gaming term that I’ll be using in many of these Final Fantasy reviews called “grinding”. Grinding is when you end up having to run around and fight monsters for the sake of leveling up your characters. There is a lot of that in this game, as well as the early Final Fantasy games in general. Unlike games today, the direction isn’t fully laid out. You are thrown into the world and wander about from town to town to figure out where to go next. Instead of games like today where other non-playable characters (NPCs for short) tell you what to do in cutscenes and whatever, you actually have to approach the NPCs and find out the information. The overall effect is more open-world. You walk across fields and oceans and deserts. There are caves and other secret places to find more items. From a modern gamer’s perspective, the exploring can be quite bare and – for lack of better word – boring. The remakes, like the PSP version that I played, brightened it up with updated graphics. They also added a couple extra dungeons. I actually spent time in those extra dungeons believing they were part of the story, appalled by how difficult they were, when I later found out they were extras put in for the PSP version. That has happened a lot to me with remakes of old RPGs (Chrono Trigger for the DS, another example). A little more obvious sign would have helped to make me realize that I didn’t need to finish those extra dungeons. The pace is definitely slower than the other Final Fantasy games. Most of your time is spent grinding. Grinding can sometimes be a wary word when talking about video game RPGs. If an RPG is too boring or tedious, grinding is the last thing you want to hear. But even when an RPG is fun, grinding means that you need to spend time battling enemies, and that means hopefully you don’t have a huge backlog of other video games. It's probably why I never got around to finishing the original NES version on an emulator. Once and a while I'd be pumped up about going through with it but then as I played I just. . .got distracted by other video games that I wanted to finish.

You definitely need time and patience. The most aggravating thing about the original version (Famicom/NES) is that if your character is set to attack an enemy but another one of your characters defeats it first, that character attacks nothing but air when it's their turn. It was a very annoying issue that they fixed in all subsequent remakes. When comparing the original to any other version, the original always is the best way to experience the game. It can also be the hardest and most time-consuming. You would need to pay attention to this game entirely and not be distracted by anything else.

The PSP version is watered down. I found it infinitely easier than the NES version. I actually played them side-by-side to figure out at what point the difficulty branched off. Right away when you venture to save Princess Sara, I realized that the PSP version gives more XP per battle than the NES version. Hence, you have to grind more in the original version.

Graphics:

Everybody loves some 8-bits, but let’s be honest here – there’s a whole lot of black empty space going on when you battle.

But hey, that was due to the limitations at the time. Battles may seem more boring to you due to the lack of detail to catch your eye.

The later remakes added a floor or ground where appropriate. The PSP remake did a good job of giving a facelift to the original, as shown below. It has this cute, rounded feel to the characters.

(My favorite battle background was in the final battle.)

The opening FMV sequence is ripped straight from the Playstation One remake. That didn’t age well. It’s awkward as hell. Want to see how awkward it looks? It looks mad awkward. Don’t say I didn’t warn you. Just look it up. I don’t want to sully this post by posting a screenshot. In my opinion, they should have created a brand new opening FMV sequence for the PSP version.

Story: The first several minutes of the game acts as a prologue. The Four Heroes of Light save a princess - Sara - from the clutches of Garland, and then the King of Coneria allows a bridge to be built for them to enter the world and save it. It’s not until that bridge is built that the game truly starts and the title screen actually displays – much like a late opening title in a movie. In retrospect, saving a princess probably seemed like the most common trope in video games throughout the '80's. Gamers would have been used to it by then. That short prologue acts like a trope-breaker. The average gamer would have probably expected the game to be like Mario or Zelda. Oh yeah, save the princess from some evil fiend, okay, got it. They would have then maybe been perked with interest when they "defeated" Garland so quickly, and then when the King of Coneria lets them pass into the world and the title screen opens up with the theme song, they maybe were like, "Ooooh. NOW it starts." Final Fantasy then plunged them into a wide open world.

The bulk of the story is mostly comprised of self-contained incidents. You run into someone who needs help with a thing so you do that thing and then you’re on your merry way again. You know what would be a great adaptation of this game? A Netflix series. It’s very episodic. First you deal with these pirates led by Bikke, then get a ship to sail across the land and go on a sort of delivery quest for a crown, a crystal eye, an herb, a magic key, until the main story picks up with defeating the Four Fiends and bringing light to the darkened orbs. There's no real huge spoiler other than the time travel paradox at the end, which had me wracking my head a bit. It's quite admirable that a game this early in video game console history produced a higher concept plot involving time travel. Music:

Composer Nobuo Uematsu created a legendary score that immediately became on par with the Mario and Zelda theme songs.  The Prelude/Crystal theme – the harp-like scale that we are all familiar with – was actually composed last. Uematsu had complete the score when Sakaguchi approached him at the last minute realizing they needed music for the game’s introduction. None of them had any idea that the theme would become a staple for Final Fantasy.

Due to the technical limitations at the time, you can imagine that the soundtrack is limited, but even so it was still quite expansive for its time. There are several individual tunes for dungeons, for sailing your ship and for flying your airship. The map theme will have you humming it without realizing it.

Uematsu drew his inspiration from two sources – classic rock and living in Shikoku, an island off Japan. The melodic world map theme in Final Fantasy (and the rest of the series) derives from the picturesque memories he has of the island. The town theme is reminiscent of the sleepy villages – as he was never a city person. Meanwhile, the battle theme has undertones of rock music.

There’s only one battle theme, even when fighting bosses and the final boss, but the amazing thing is that it never gets old.

Final Fantasy games are known for their great battle songs. The opening bassline always gets you in the groove to fight. You’re fighting but want to sing at the same time. Maybe that’s the brilliance of Uematsu; because of the fact that you need to grind many times in these old Final Fantasy games, he created a tune that you wouldn’t get tired of because it’s not so serious or mundane.

Not to crap on other great developers, but other video game RPGs at the time of Final Fantasy didn’t quite have memorable battle music. Just look up the battle theme to the first Dragon Quest game (released before Final Fantasy). You can imagine how that simple tune could get old really quick. I could be pulling this out of my ass, but after Final Fantasy, it seemed that battle music in video game RPGs suddenly got better. If you listen to the Dragon Quest IV battle theme, there is a portion that sounds similar to the battle theme of Final Fantasy.

The PSP version adds more tracks, specifically to the boss battles, and I like how they incorporate the original battle motif thrown into the new battle songs. The original battle theme has a guitar and drums added, which is the style that Final Fantasy battle music was known for by then.

There is one last thing to note about the score that I found very interesting for its day and age. You see, in a movie score, you have themes and motifs, just like a video game score. But in a movie score, other tracks reference those themes and motifs. For example, you have The Raider’s March in the Indiana Jones films; that’s the theme for the character Indiana Jones. Then in the movie, whenever Indy does something badass, you hear his theme blare in that instance. Obviously the entire theme doesn’t play, but it is incorporated in snippets throughout.

Uematsu actually does this with the Town Theme. He incorporates it at the ending music in the epilogue. It took me a while to try to understand why. Then it hit me. The epilogue mentions the heroes becoming legends as people talk about them. Legends are told and spread in towns.

It’s a very small detail. It’s such a small detail that it could be nothing but if it is what I think it is, then it’s cool that he was already in the mindset of passing on themes and motifs throughout the game, treating it like a movie.

Notable Theme:

I already posted the main themes in the introduction, but here’s the original battle theme:

Verdict:

A strong debut to the Final Fantasy series. To a modern gamer though, you may be spoiled by the fast-paced, eye-catching video games of today. When console games first hit the market, developers had to create games that took longer than the average arcade game to finish, or else kids would get bored with their games in minutes and gee, wouldn’t that be a waste since they paid way more than a quarter? Thus, that’s another reason why old games are harder. Given the technical limitations at the time, developers couldn’t expand much on the game, so there’s a lot of leveling up and grinding because what else could you do? You know? Ultimately, playing a video game back then was all about honing your skill with that game.

Ideally, you could play through every Final Fantasy game in order of their release, and that would give you a greater sense of the evolution of the gameplay and the series as a whole. However, most people reading this (and me) are probably more modern gamers – and as such, our perspective is biased on what feels “exciting” and “remarkable”. The first Final Fantasy game could feel boring and tedious to you now, but if you put it in the context of when it was made, this was entertainment for hours on end. This is basically like watching one of those silent adventure films starring Douglas Fairbanks. Yeah, you’ve been spoiled with more amazing stuff like The Matrix and Star Wars, but golly – this stuff blew people’s minds back in the day.

Direct Sequel? No. However, there have been multiple remakes, which I have already listed above.

[killfaeh]

Péguy

Hi everybody! In this news feed I've told you a few times about a project I named Péguy. Well today I dedicate a complete article to it to present it to you in more detail but also to show you the new features I brought to it at the beginning of the winter. It's not the priority project (right now it's TGCM Comics) but I needed a little break during the holidays and coding vector graphics and 3D, it's a little bit addictive like playing Lego. x) Let's go then!

Péguy, what is it?

It is a procedural generator of patterns, graphic effects and other scenery elements to speed up the realization of my drawings for my comics. Basically, I enter a few parameters, click on a button, and my program generates a more or less regular pattern on its own. The first lines of code were written in 2018 and since then, this tool has been constantly being enriched and helping me to work faster on my comics. :D This project is coded with web languages and generates vector patterns in the format SVG. In the beginning it was just small scripts that had to be modified directly to change the parameters and run individually for each effect or pattern generated.

Not very user friendly, is it? :’D

This first version was used on episode 2 of Dragon Cat's Galaxia 1/2. During 2019 I thought it would be more practical to gather all these scripts and integrate them into a graphical user interface. Since then, I have enriched it with new features and improved its ergonomics to save more and more time. Here is a small sample of what can be produced with Péguy currently.

Graphic effects typical of manga and paving patterns in perspective or plated on a cylinder. All these features were used on Tarkhan and Gonakin. I plan to put this project online, but in order for it to be usable by others than me, I still need to fix a few ergonomy issues. For the moment, to recover the rendering, you still need to open the browser debugger to find and copy the HTML node that contains the SVG. In other words, if you don't know the HTML structure by heart, it's not practical. 8D

A 3D module!

The 2020 new feature is that I started to develop a 3D module. The idea, in the long run, is to be able to build my comics backgrounds, at least the architectural ones, a bit like a Lego game. The interface is really still under development, a lot of things are missing, but basically it's going to look like this.

So there's no shortage of 3D modeling software, so why am I making one? What will make my project stand out from what already exists? First, navigation around the 3D workspace. In short, the movement of the camera. Well please excuse me, but in Blender, Maya, Sketchup and so on, to be able to frame according to your needs to get a rendering, it's just a pain in the ass! So I developed a more practical camera navigation system depending on whether you're modeling an object or placing it in a map. The idea is to take inspiration from the map editors in some video games (like Age of Empire). Secondly, I'm going to propose a small innovation. When you model an object in Blender or something else, it will always be frozen and if you use it several times in an environment, it will be strictly identical, which can be annoying for natural elements like trees for example. So I'm going to develop a kind of little "language" that will allow you to make an object customizable and incorporate random components. Thus, with a single definition for an object, we can obtain an infinite number of different instances, with random components for natural elements and variables such as the number of floors for a building. I had already developed a prototype of this system many years ago in Java. I'm going to retrieve it and adapt it to Javascript. And the last peculiarity will be in the proposed renderings. As this is about making comics (especially in black and white in my case), I'm developing a whole bunch of shaders to generate lines, screentones and other hatchings automatically with the possibility to use patterns generated in the existing vector module as textures! :D

What are shaders?

Well, you see the principle of post-production in cinema... (Editing, sound effects, various corrections, special effects... all the finishing work after shooting). Well, shaders are about the same principle. They are programs executed just after the calculation of the 3D object as it should appear on the screen. They allow to apply patches, deformations, effects, filters... As long as you are not angry with mathematics, there is only limit to your imagination! :D When you enter a normal vector in a color variable it gives funny results.

Yes! It's really with math that you can display all these things. :D Now when you hear a smart guy tell you that math is cold, it's the opposite of art or incompatible with art... it's dry toast, you'll know it's ignorance. :p Math is a tool just like the brush, it's all about knowing how to use it. :D In truth, science is a representation of reality in the same way as a painting. It is photorealistic in the extreme, but it is nevertheless a human construction used to describe nature. It remains an approximation of reality that continually escapes us and we try to fill in the margins of error over the centuries... Just like classical painting did. But by the way? Aren't there a bunch of great painters who were also scholars, mathematicians? Yes, there are! Look hard! The Renaissance is a good breeding ground. x) In short! Physics is a painting and mathematics is its brush. But in painting, we don't only do figurative, not only realism, we can give free rein to our inspiration to stylize our representation of the world or make it abstract. Well like any good brush, mathematics allows the same fantasy! All it takes is a little imagination for that. Hold, for example, the good old Spirograph from our childhood. We all had one! Well, these pretty patterns drawn with the bic are nothing else than... parametric equations that make the students of math sup/math spe suffer. 8D Even the famous celtic triskelion can be calculated from parametric equations. Well, I digress, I digress, but let's get back to our shaders. Since you can do whatever you want with it, I worked on typical manga effects. By combining the Dot Pattern Generator and the Hatch Generator but display them in white, I was able to simulate a scratch effect on screentones.

In the traditional way it is an effect that is obtained by scraping the screentones with a cutter or similar tool.

Péguy will therefore be able to calculate this effect alone on a 3D scene. :D I extended this effect with a pattern calculated in SVG. So it will be possible to use the patterns created in the vector module as textures for the 3D module! Here it is a pattern of dots distributed according to a Fibonacci spiral (I used a similar pattern in Tarkhan to make stone textures, very commonly used in manga).

Bump mapping

So this is where things get really interesting. We stay in the shaders but we're going to give an extra dimension to our rendering. Basically, bump mapping consists in creating a bas-relief effect from a high map. And it gives this kind of result.

The defined object is always a simple cylinder (with 2 radii). It is the shaders that apply the pixel shift and recalculate the lighting thanks to the high map that looks like this.

This texture has also been calculated automatically in SVG. Thus we can dynamically set the number of bricks. Well, this bas-relief story is very nice, but here we have a relatively realistic lighting, and we would like it to look like a drawing. So by applying a threshold to have an area lit in white, a second threshold to have shadow areas in black, by applying the screentone pattern to the rest and by adding the hatching that simulates the scraped screentone, here is the result!

It's like a manga from the 80's! :D I tested this rendering with other screentone patterns: Fibonnacci spiral dots, parallel lines or lines that follow the shape of the object.

Now we know what Péguy can do. I think I can enrich this rendering a bit more with the shaders but the next time I work on this project the biggest part of the job will be to create what we call primitives, basic geometric objects. After that I can start assembling them. The concept of drawing while coding is so much fun that I'm starting to think about trying to make complete illustrations like this or making the backgrounds for some comic book projects only with Péguy just for the artistic process. Finding tricks to generate organic objects, especially plants should be fun too. That's all for today. Next time we'll talk about drawing! Have a nice week-end and see you soon! :D Suisei

P.S. If you want miss no news and if you haven't already done so, you can subscribe to the newsletter here : https://www.suiseipark.com/User/SubscribeNewsletter/language/english/

Source : https://www.suiseipark.com/News/Entry/id/302/

[gravityfissure]

[meta] What, if any, games, movies, books, tv shows, etc. have you drawn influence from for your character?

Okay so round 2, much in the same vein for Arthur there are... A lot. Possibly even more things that influence and inspire where Otto’s muse and views comes from. That said in writing this there are also a LOT of similarities between the characters I can pick out certain attributes and to be honest there’s a lot of crossover with the traits and characterisations highlighted.

Namely: playful and proactive, self-serving yet loyal to those that meet his criteria as to who is deserving of it. A grifter by nature that will approach almost any situation if he feels he’ll get something out of it while equally hoping that one day someone might actually bother to ask him (and maybe give him a true reason) to stay.

Dorian - Dragon Age: Inquisition

Uh, the heir of a famous magical dynasty? A flair of magical talent that made him the envy of his peers? Studied at one of the best colleges for the magical arts before being kicked out and privately tutored before eventually vanishing and being found by Magister Gereon Alexius who offered to take him as his apprentice eventually becoming a fully-ranked enchanter. A pariah for opposing every fault his homeland is renowned for?

It’s been years since I’ve played DA:I and Dorian always was one of my favourite characters but tbh I completely forgot his background and it’s only in revisiting it now I actually realise the similarities in the framework of their characters/development/story line. Not to mention the fact they both enjoy playful flirtation and witty banter and oppose the things they don’t fit into their view of the world. They will probably do the right thing, but that doesn’t mean they might not take their sweet ass time in actually getting into a situation.

Isabela - Dragon Age II and Inquisition 

AND AGAIN. Isabela’s a great character - a pirate scourge of coastlines and nations around the world who values fun, freedom and getting ahead in life. They both value solving situations in clever and devious ways and getting ahead even if it means being somewhat selfish when they’re dealing with other people, example: Otto conning Deirdre out of $28k when she tried to cover for Regan or those plans he has to try and record a banshee scream? They’re both always down for trying to squeeze that little bit extra out of a person. If it one ups them in life and people are gullible enough to fall for it well... They really did it to themselves didn’t they?

But that doesn’t mean there aren’t depths to that hardened persona they both present. There are actual feelings and things hidden behind the wall and appearance they both present to the world. And underneath it all they’re both afraid of being left behind, but figure it’s best to push people away before they decide to leave of their own volition. At least that way they can say they have some control over the situation.. 

Sera - Dragon Age: Inquisition

Apparently this is a DA characters list but you know what sue me. x) So NEXT on the list is Sera, an elven archer who is incredibly impulsive and reactionary. She takes pure delight in humbling the established authority she views as arrogant and selfish. It’s less about what’s right in the grand scheme of things but more about what’s right in that very moment. She doesn’t believe in actions taken for a greater good, instead viewing it as just another excuse to hurt others undeserving of such treatment because it’s easier than making the truly hard choices in life. 

Felix Dawkins - Orphan Black

Look Felix is one of the many fascinating characters on Orphan Black. Don’t get me wrong there are SO many and it’s a great show. But Felix is a character whose very existence proves that you can have a very effeminate, boisterous, loud, witty gay character and not have him be limited to the perpetuation of the sassy gay friend stereotype. Why? Because he has a whole complex personality beyond just that aspect of his life. He’s got to deal with real life issues on top of all the drama clone club brings into his life and he deals and he survives and he cOPES.

Not to mention he’s a positive representation of foster children being happy, positive representation of LGBTQ+ characters and gives positive representation of sex workers. Not to mention on top of all that representation you see how he’s smart as hell, the only person who knows Sarah well enough to keep her on track. The BEST uncle to Kira and one of the most supportive characters on the show. 

Sarah - Orphan Black

Felix’s foster-sister, another character that shows the positive and complex dynamic that foster families tend to have while also demonstrating the fascinating found-family dynamic with clone club. Sarah’s interesting because she’s a natural chameleon, she’s street-smart and tough, a born outsider living on the fringes by her wits while in possession of a dark sense of humour that sees her by.

Sarah and Otto have a rather morally ambiguous compass, they’re both characters who swing between being very self-serving and selfish and acting for the greater good when they decide it’s needed. Not to mention the act as if they don’t care about other people’s issues (see clone club) when actually it transpires they both might just care a little more than they actually let on.

Garcia Flynn - Timeless

Unfortunately Garcia fits the my favourite character type: tall, dark, snarky, sassy antihero motivated fiercely by love and willing to do things of questionable morality against a greater evil, self-aware and doesn’t make excuses for his behaviour, but isn’t wringing his hands over it either.  A character who so dearly loves the people in his life (see revenge for his wife and daughter) so much so he’s still fighting for them 5 years later just to be alive and not even to have anything to do with him again because he knows the things he’s done are enough the he could never go back to being that person for them. The man who loved his mum and went on a trip just to make her happy and save his brother. When he truly cares for someone he does EVERYTHING for them while somehow having none of the toxic jealous possessive business, despite his  well-attested Garbage Drama in other departments, and just generally being a mature adult and an essentially good person who has gone down some really dark places and is finally rediscovering what he’s buried and lost. Look man, I’m a suuuuuuuuuuuuucker for found family, enemies to lovers, and villain becomes weird family member. And he covers all of those, so yes. 

There’s a lot of that I’m planning and drawing on for Otto, this weird currently antagonistic little self-serving shit who is out for his own ends but maybe along the way finds some semblence of a conscious and maybe has a fair few moral dilemmas and self-questioning moments along the way? Who maybe finds friends (and even love?) Who has to deal with FEELINGS and things he’s repressed for years because of the things he’s done just to survive the life he fell into? Uh, yes give me give me give me.

Jesse Custer - Preacher

Okay, so this one’s kind of another given. Jesse’s another character I’m fascinated with because before Genesis’ arrival he was a down upon his luck preacher. A man who was trying so hard to fit into his dad’s ideal and not let the life he had before affect his day to day. Except it all goes to hell in a handbasket because of course it does.

Jesse essentially gains the ability to make anyone do anything he says. And that power? It’s addictive, and we see the struggle he goes through to learn how to control and manipulate it to his own end. To begin with he tries to right wrongs, to tell people to stop doing the bad things they’re doing in their lives and fix them so they’re better people but with each act that power and god-complex grows. It goes to his head until we meet the moronic messiah Humperdoo and Jesse eventually agrees to take his place. The messiah-complex and power corruption is complete, and the repercussions of his choices are devastating especially with how they impact Cassidy or Tulip and the repercussions in Angelville.

Much like Otto’s own magic, the more its used the more enticing it is to carry on using it for more and more things. At first it was small deeds, little acts of good until Otto in kind started to realise that good deeds weren’t enough to make a change. They weren’t enough for other people around him and with each act it grew and grew - and it continues to grow. The question is to what level? And if it ever got out of control, would he ever know how to stop it?

Crowley - Good Omens

An overall non-threatening demon, who tries to be “evil” in his own way to fit into the role his society (other demons) expect of him. Crowley wants to save the world (for his own reasons) and can be rather self-serving in certain moments. There’s plenty of times he tried to convince Aziraphale to run away with him and let everything else forgive the irony but for lack of a better term “go to hell” but he always comes around in the end (typically to a Queen track) to help when it really counts for something.

 Not to mention his flare for the dramatic, very rarely thinking things through, with many of his own plans backfiring on him.  

Sound familiar?

Wrench - Watch Dogs 2

Part-hacker and full-fledged anarchist who wears a freaky mask with LED displays capable of bizarre emoticons. He's vulgar, crude, entertaining and an absolute adrenaline junkie who lives on the edge. He's jokingly called the wrench because he's the wrench you throw into somebody's gears to grind them to a halt.

The final one on the list, because it’s a side I haven’t yet played into so much but I’m curious to given means and opportunity to. Otto does have some inclination towards an anarchistic nature, if a system doesn’t seem to work he isn’t afraid to speak out or more likely act out against it. Whether it’s in the greater good or not isn’t so much relevant rather that he would happily take a torch and burn something to the ground if it meant starting again with something new and better in its place. It’s definitely something I want to explore more down the line.

I also find it interesting the whole concept of “hiding behind a mask” which is something wrench quite literally does. Both have built personas to defend themselves from people breaking through and seeing that what actually exists on the other side is a rather shy and awkward person who tries to “act out” and be “dramatic” in an attempt to get attention from a world in which there’s so much noise how could anyone ever feel like their voice mattered let alone be heard unless they started shouting “HEY, LOOK AT ME” at the top of his lungs?  

[allisondraste]

Writing Deliciously Evil Characters: A Meta Post

Recently in a discord conversation, I was discussing some feedback that I have gotten on my longfic, regarding my portrayal of the odious Rendon Howe.  Arl Howe is a classic, stereotypical “mwahaha” type of villain, which is not the standard in Dragon Age where the Wardens are Grey and the villains are Greyer, in that most of the bad folks aren’t doing bad things for the sake of doing bad things (e.g. Loghain, Meredith, Solas), but rather because they believe what they are doing is “right.”  Howe, on the other hand is a man who betrays his closest allies in the first of what would be a series of awful vies for power during the Fifth Blight that would eventually lead to his death and the destruction of his family.  He’s not the only character who does evil for pleasure/power/personal gain (think Livius Erimond, the Grand Duchess, Corypheus, Danarius blah blah blah).  However, the feedback was about Howe, so I’m going to reference him throughout this post.

Essentially, I have received a number of comments in which people have remarked something to the effect of “The way you write Howe makes me hate him even more.” I love this feedback because that was the plan all along and it’s the equivalent of someone saying “The way you write [insert widely beloved popular hero character here] makes me love them even more!”  I love love love villains, and as much as I am in the camp with everybody else wanting to stab the man in his slimy, weasley guts, I also love writing him.  In my personal opinion he is actually a very good villain, and I’ll go into why in a bit.

For those of you who haven’t encountered my meta posts before, I’m not a writer by trade.  I am a mental health professional, and my background is in psychology.  So when I make posts about “writing” some type of thing, I typically focus on the psychological components of why certain things work for characters, why others don’t, and how to make a character’s actions realistic and true to who they are as a person. That being said: I do speak about sensitive things in my posts, and this one is no different, so I will be putting the rest of this post behind a Read More.  If you are triggered by the mention of trauma and abuse, violence, and mental illness then I would caution you to take care of yourself if you choose continue on!

What is Evil?

If I were to ask you to give me the name of someone who is “evil,” I would bet money that the people everyone lists would be what society likes to coin “psychopaths” or “sociopaths,” and these are individuals who are callous, cruel, and lack consciences, anxiety, and empathy.  They are your serial killers and super villains.  Your unarguably bad, awful, evil people. They were always evil.  Born evil. Raised evil.  They eat, sleep, and breathe evil.  Concentrated evil flows through their veins. They probably also hate puppies and babies.  You all get the picture.

First of all, this is not only an inaccurate understanding of what standard human evil is, but it is also an inaccurate and romanticized view of psychopathy/sociopathy (the words are actually interchangeable, people just like to pretend they are different).  The media loves itself a juicy slice of psychopath.  It’s why we have movies about Ted Bundy and why Discovery ID is a thing. However something that is so incredibly important to note is that regardless of how an evil person presents, “evil” as a thing, a behavior.  It is  not a personality trait, but a societally motivated response. People are not evil; they do evil.  Someone  may be born with a diathesis, or predisposition to do evil things, and then be influenced by environmental factors to enact those evil things, but nobody in the world is born evil. Not. A. Single. Person. In fact, as the Stanford Prison Experiment, conducted by Philip Zimbardo (who also has a wonderful TED Talk  on the Psychology of Evil), shows ANYONE under the right circumstances can do evil.  The Stanford Prison Experiment is actually an excellent example of why the Templar Order is the way it is!  When people of equal standing are placed in a position where one group has perceived power and authority over the other, and when the guilt is diffused across a “group” rather than placed on a single person, horrible things can happen. In fact, more evil is done by groups of people than individuals for this very reason.

I originally had a much longer explanation about how society causes evil, but the post ended up being long anyway and this was unnecessary (but, if you want a post about that in the future, feel free to hit up my inbox or otherwise just check out that Zimbardo talk linked here).  

My point is that in order to write compelling villains it is important to understand what drove them to reach the point of atrocity they have reached, why they do as they do.  A villain who you cannot answer those questions for is going to fall flat.  Disclaimer: I am not suggesting that you excuse a villain’s actions or make apologies for what they do.  Evil is evil regardless of intention, however, knowing the explanation for the behavior can help you capture it in a story.

Why Villains Fall Flat

If my readers are anything like me, then there have been times in the consumption of media that they encounter a really awful bad person who you just kind of feel “blah” about.  They are supposed to be your protagonists’ mortal enemy, but their defeat falls flat and feels empty and anticlimactic.  Sometimes in the horror genre, authors take the “telling less” approach regarding their villains because that increases the “oooh” creepy feeling that they want to have.  This is actually really really effective for a horror film.  It is not so effective when writing action/adventure, romance, etcetera.  Why? I think that it can be pretty well summed up by the following quote by existential psychologist Rollo May:

“Hate is not the opposite of love; apathy is.”

Essentially, in order to truly hate a villain and to be both disgusted by their actions and thrilled by their defeat, you have to care about them in some way shape or form.  You have to be invested in their “origin story” and/or care about someone who is closely tied to them or affected by them.  It’s why Rendon Howe is such a good villain, and why playing the Cousland origin and meeting his children makes you hate him even that much more.  When you play the Cousland origin, you get to see the Arl through the eyes of someone who doesn’t know that he is bad.  Rendon is aloof, but ultimately respectful and he seems to have the implicit approval dear old dad (they were war buddies after all! Fought in the rebellion together!!).  Then, he has the family murdered in their sleep in a premeditated act of sheer ambition.  We get to see the death of a young woman and her son, and watch as Warden Cousland leaves her parents behind to die.  It’s tragic, it’s all Howe’s fault, and it’s effective.  Then you have this opportunity to meet Howe’s eldest son Nathaniel who is so bitter and full of rage that *you* the “hero” destroyed his family.  He can’t fathom his father doing something evil enough to warrant what happened to the Howes.  He was never that bad!  He just got caught up in politics!  He picked the wrong side in a war!  He tortured prisoners because the country was at war!.  His bedroom was  next to the torture dungeons because politics and war! I’m not saying that Nate has the most accurate view of his dad -- the man certainly wasn’t winning any father of the year awards, after all, a fact which Nathaniel eventually comes to realize (“maybe I shouldn’t defend the man who found the screams of prisoners to be soothing bedtime ambient noise” -- okay I’m exaggerating so sue me).  What I am saying is that in  listening to Nathaniel speak about his father and his family, we learn more about Howe, his life and his motivations.  We realize there is nothing more than a man behind all that evil, a man who has a family (and a family in which the other members are actually good and decent at that) and we are able to see that maybe he could have been good had things gone differently for him.  Again, it’s effective.

What Causes People to Do Evil?

As I mentioned before, just as with greatness, people are not born evil.  Evil is something that people have thrust upon them, and it is honestly really tragic if you look back and see all of the individual steps that led to a person becoming the villainous bastard you know and love to hate.  There are many different reasons a person might do evil things, but it typically falls into the theory we psychology nerds call the “diathesis-stress model,” which posits that certain people are born with a “diathesis” or a predisposition for a certain type of behavior.  In the case of an evil person it might be that the person has an irritable temperament or ambitious, selfish, narcissistic, aggressive, deviant, manipulative, etcetera tendencies.  When these people are placed under a stressor (such as, but not limited to: abuse, trauma, modeling of crime or deviant behavior, desperation, loss, etc.), the darker sides of those qualities comes out.  

NOTE: This is not to say that everyone who has these qualities and undergoes a stressor is going to become evil.  This is not to say that abuse/trauma/etc. causes evil.  In fact, most people who are traumatized do not go on to traumatize others; however, if you look at everyone who has done evil, almost all of them have done so because they grew up in an environment where such evil was the norm, and they learned nothing better.  They are people who were pushed by desperation.  They are people who ultimately have a story that is not “Oh, they’re just bad.”

Evil is the perfect storm of nature and nurture that, unfortunately, some people are not able to escape.  

Sometimes, it’s easy to care about villains because their intentions and motivations are very overtly stated.  For example:

Loghain is motivated by a very rational fear of the Orlesians and Cailan’s closeness to them.  We learn all that Loghain’s family went through during the Orlesian occupation, what happened to his mother.  We also can toy around with the possibility that his decision to quit the field at Ostagar was less obvious treason and more obviously pragmatic.  This of course doesn’t justify anything he does (you know, like striking a deal with the magisters to sell the Alienage elves into slavery or allowing Howe to, uh, torture people, what have you).

Meredith - See my above discussion of the Stanford Prison Experiment, but also consider her temperament and the trauma she was exposed to as a child with her sister who had magic and caused the death of 70 people including her family.  Is it okay that she abuses her power and abuses mages? Hell no… but we have motivation.

Solas - *sigh* Don’t make me do this one.  We get it. He has to RIGHT the WRONG. It’s his DUTY.  Cool story, still evil. (disclaimer: I love Solas. Ma vhenan. But I look at him with a critical eye when I choose to love him.  That’s important.)

Sometimes the motivations are not so clear.  I’m not particularly inclined to care about Corypheus other than I’d kinda like for him to get away from me with that demon army.  I don’t really give a flying duck about Erimond other than he is, as Cole so succinctly puts: an asshole.  There are lots of characters like that, and honestly it’s good to have a few of them sprinkled about a bit.  They’re not particularly fun to write or compelling to read (in my personal opinion), but hey! Your mileage may vary.

And now we’re back to Howe (Maker help me I never thought I’d be doing a  meta post about this awful man, but here we are).  He, and actually most if not all the minor villains in DAO, is actually really good despite his motivations not being so blatantly obvious as Loghain’s or Ulfric’s or any of the others you face in that game.  When he says, “I deserved more!” at the end, without further thought about the topic, it’s easy to say “God what a power grubbing weasley little snake of a man,” or a “cold codfish arse,” as one of my friends aptly described him.  However when you look at his background… it’s not so simple as all that. Just a few notes:

According to the lore Rendon has two fathers: Padric, who disappeared with the Wardens never to be seen again and who Rendon never forgave, and Tarleton who had no sense for loyalty and sided with the Orlesians in the rebellion and was ultimately hanged.

Young Rendon, despite his parentage chose to join the Rebellion with his besties: Bryce Cousland and Leonas Bryland.  At some point, he becomes injured and is no longer able to fight.  He is cared for by Leonas’ sister Eliane, who would later become Lady Howe.

There seems to be a lot of strife between Howe and his wife’s family, so much so that Eliane’s parents were even cold and critical of the Howe kids, Nathaniel in particular (maybe because he looks the most like Rendon, who knows?).  He expected to receive some of the Bryland wealth, but that did not happen (likely because he did not actually love his wife and Eliane’s family had no great love for him.  As far as marrying a Howe in Thedas, it would be much like marrying a Greyjoy or a Frey or a Bolton in Game of Thrones.  It’s not a family anyone particularly wanted to be associated with)

It is likely that Howe became very insecure and upset by the success of his friends, even resentful of them.  Handsome Bryce, his promotion to Teyrn,  and his Pirate Wife.  Leonas and his lovely [wealthy] family.  It made him miserable, and accompanied with all of the things that had been modeled for him by his family… it was not much of a stretch for him to go darkside.

So…What Was The Point of this Allison? Why Have You Written This Hellishly Long Post?

1.) I wanted to.  It was fun for me. This is how I spend my free time apparently.

2.) I wanted to provide some basic pointers for writing believable, but undoubtedly bad villains, and I felt like it needed context.

The Tips...Get On With Them Already. Please. We’re Begging You.  TL;DR!

1.) “Evil” is not a personality trait, it is a behavior.  People are not born evil.  They are led to do evil.

2.) Romanticized psychopaths/sociopaths are boring.

3.) In order to develop hatred for a character, you have to make the audience care about them, and the ways to do so are endless.

4.) Evil is the combination of a predisposition to do bad things plus some catalyst that causes someone to go darkside.  Nature and Nurture working together to make a twisted thing.

5.) Grey villains are abundant and very cool. Their motivations cloud their morality.

6.) Not-so-grey villains are also abundant, and can also have the potential to be very cool or the potential to be glorified Scooby-Doo villains (“And I would have gotten away with it too if it hadn’t been for you meddling WARDENS”)

7.) The line between a compelling “mwahaha” and a bleh “mwahaha” lies in the character’s backstory and motivations.  It lies in the audience caring in some way, shape, or form about that person.

8.) Rendon Howe is a character who, in my honest opinion was done right.  People loathe him.  He’s absolutely detested. Why? Because he’s a “cold codfish arse”? Maybe.  I posit that it’s because we have enough information to care about him.

Thank you for coming to this TED Talk, you all have been wonderful.

[dndgamergirl]

Dungeon Master Xmas Rant

Just when I thought the holidays could not get any worse they did today. as many of you guys know I run a Dungeons & Dragons Discord with my friends. We've rarely take new people into the group because of the fact that we would like to get to know the person before we allow them to play a game. We also have what we call the trial period.  This is when a player who is new and it's not certain they want to join our group comes in and sits in on game for a couple of weeks. This allows the player to do a lot of things that most would never think to give a player who is new to D&D a chance to do. One of the things that we use it is to be able to allow a player who is new to our group an insight into the world they get to learn the characters and the world itself as well as the rules that the world abides by. Being the fact of most of my worlds are Homebrew this means that the players also get the idea of which rules from the books we use as well as some of the house rules. Now this is to say that we do have some major standards this means that a lot of our games that are adult oriented do have an age limit. At which you are allowed to participate in. This means that some games are strictly for those who are 21 years of age and up or even to the point of, ‘all right will allow the eight-year-old to come in and play but after this point know that the next game they might not be able to because that's when we have to go to the section that is way above their age level.’ So why am I telling you this? I'm telling you guys this because we just had another issue with a player. On second thought no we didn't have a issue we had a lot of issues. For me as a dungeon master I have to control the world that the players are running around in. This means I have to go over everyone's character sheet and background I also have to go over there backstory. When a player is having trouble with their back story I usually go ahead and help him figure out exactly where they need to fill in the places. I also help them figure out what they don't need their back story because it could cause trouble with the world schematics or even break the campaign because you're basically making a character that is too overpowered. Example of this can be found in a different rant that may or may not have already been published already. But on to the issues that we had with this player. Issue number one was the fact that whenever we got into the game the player was always very standoffish with their character. As a dungeon master I enjoy a little bit of angst and it's always fun to see kind of the bad boy character or the Emo character but then there's a point of taking it to the degree of your really just making it hard for anyone to interact with your character and move the story along. An example of this can be found in one game that a lot of my players are having a lot of fun with. The world that I have them running in is a mix of Supernatural meets American Pie meets Animal House mixed in with a little bit of Scooby-Doo. It's all based in the 1970s world that is just coming off of the hippie era and slowly going into the disco scene. The players all play college kids that are in a fraternity and are basically trying to stop one of the greatest on speakable evils known to mankind. They do have a little bit of leeway with the fact of the person who is basically the head guy to talk to you with campus security is their sponsor for their frat house and at the same time they also have the added advantage of certain characters are still running around that can help them. One of which is an NPC that I placed in that is kind of the Minotaur version of Tommy Chong from Cheech and Chong. And at the same time just for the heck of it I threw in a version of Jay and Silent Bob where Jay is a satyr Warlock and Silent Bob is a dwarf Paladin. I usually try to put in a lot of Pop Culture references and it makes everybody laugh a lot. Well this player decided that they wanted to go ahead and mess things up. And when I mean mess things up I mean unfortunately this player did some very ridiculous things. He wanted to be a werecat but they also wanted to be a Druid now whenever were talking about certain things I usually go ahead and I'm pretty lenient with my players. I gave them the ability to understandably turn into a half-and-half form of an animal as well as the ability to turn into the Natural Animal itself but they would not be able to talk much like wild shape for a druid. Only it would work longer and it would only work on the type of where creature they were. Being a generous DM I gave them this thinking that they wouldn't abused it as much as they did. And when I mean abused I mean they abused it. The character was constantly in the form of a cat not even a big cat a house cat. It got very annoying and unfortunately it got to the point where the player itself didn't want to go ahead and interact with anybody other than the fact of well this conversation.

Dm: “Okay wait they were here?”

Player:  “Yeah you didn't notice.”

Dm: “No you didnt say you followed.”

Player: “Um yeah i did i was there the whole time.”

Dm: “Where then where in the room?”

They made it to where I unfortunately as a dungeon master I could never tell when the cat was in the room and it started to get very annoying to where I told them they had to make it known that they were there. At the same time they were also not happy unless all the spotlight was on them for certain s***. Whenever characters started to do any form of romance with a different character a NPC or even another player character they would kind of get uppity and  try to get the attention all on them again. This was getting annoying and unfortunately I was unable to have a lot of contact with them because they were constantly working. The last game we had was the day before Christmas Eve and I asked him if they were coming to game and they said no I'm not feeling well. Being the kind of person that I am I left it at that and I decided that I would be talking to them about the issues that we were having another day. Not just for my end but from the players and as well because the players were getting upset that the character did not really try to help the group whenever things would happen. The character was always centered on themselves they didn't do anything to help any of the other players whenever a battle came they only protected who themselves. And in this game unfortunately the one that I'm running you have to protect not only yourself but you also have to watch out for your friend who's standing right next to you a lot more than yourself. Because once that line is broken that's it game over the party will be at a major risk of a total party kill. So what do I do Christmas Eve was the next day and I decided that I would go ahead and wait until Friday. Since Christmas this year falls on Wednesday, I figured that it would be all right to go ahead and give him 3 days before I called them since I would be working with my service dog on Thursday. On Friday I had planned to call them and  that was that or so I thought. Christmas comes and I go to my family's house I'm normally not one to deal with one side of my family and they usually make me pretty uncomfortable. So I was already in a kind of mood and all I was thinking was present time is almost here and after we have presents we pick up the food and then we all go home. This means I only have 1 hour and 45 minutes left of Christmas. That is when I get a contact on my Discord server. Only it's not the main server its individual message. I had time so I decided to go ahead and take a look I figured it was one of my friends on Discord sending me a Merry Christmas card or picture. However it wasn't it was the problem player who told me that they were going to leave the game. They told me that the reason they were going to be leaving the game was because they weren't having as much fun as they had in the beginning. A lot of my games do have a good bit of combat but I also balance at all with a good bit of dialogue and at the same time I also tried to balance it off with a bit of puzzle work that the players have to do. This player was more of a combat player and at the same time was also the kind of person that if there wasn't any combat going on every 10 seconds they would basically get bored. For a D&D game to work you have to have a complete balanced and at the same time you have to rotate the importance of each player in an entire rotation. One session segment might be about one player and then the next one another player so you have to take it all in turn it's a complete Carousel Ride. As soon as one player has had the spotlight on them for long enough you then have to move to the other players in the queue. The bad part is that this hit at a point where I was not in a good mood and at the same time it only made it worse. For me Christmas has always been a time where I have really bad seasonal depression and at the same time where I don't feel like I belong. So upon me getting this notification and i was at christmas you know i wa not happy. And the bad part is that broke the goliths back. For the week before this i found out the player had also during the week expressed his issues to the players stating that he didn't want to talk to me about it because he felt like I wouldn't listen to him. When all the players know that I do listen to them and that I encouraged them constantly to come to me if they ever have any questions or any concerns. So I did the only thing I could which was go ahead and allow him to know that okay fine you can leave thanks for letting me know. But also a tip for other Gamers out there as well as this one if you're going to go ahead and say you're leaving a game or leaving a table. Maybe you shouldn't do that on a holiday because you don't know what that person is going through Master might have a bad connection with a certain holiday not just Christmas but possibly Easter or some other holiday. Maybe it holds bad memories for them and they're trying to not have bad memories happen on that day. Today I was trying to make a few good memories with my family but unfortunately this message made it to where I couldn't have that it completely ruined my day. And unfortunately I had a really bad time a Christmas this year. When I expected to get a merry Christmas I got a sorry but your game is too boring and I'm going to disrupt what little bit of happiness you're trying to have just to make you feel like dirt. As such the gamer has now been removed from our server and now we're looking for somebody to replace him. It's also gotten me to the point where I'm now debating going ahead and making an entire panel for an up-and-coming convention that I'm going to about dungeon master rants things that make the dungeon master story keeper and Storyteller angry. Maybe this will be a good platform for other dungeon Master's to come forward about their own issues that they've had with their groups or players and possibly allow other dungeon Master's to give them an idea as to how to handle this. Problem players are always an issue and unfortunately it can be even more of an issue when they decide to go ahead and ruin your holidays.

[darthsuki]

Fic Rec Tag Game

Post your fics you are most proud of! No limit on how many, just the ones you look at and just feel so pleased that you wrote something so great! Tag as many people as you like to get them to share their own fics! 2k19 is the year we love our own fics babes!

Though I have been a writer in some form or another for as long as I can remember, I didn’t have any sort of online presence until around roughly 2010;  in fact, my first ever online account was on deviantArt!

I’ve made a lot of strides in the last decade with my writing, both in the craft itself and my perspective on how it can impact people in all sorts of wonderful ways--so below is a list of the works that have been important, beloved, or otherwise influenced my experience as a writer. 

If anyone has ever been curious about my older works or the things that have been imperative to making me the writer I am today, I’d say it’s worth taking a peek--you might find something new of mine to like! ;3c

Truth Within (Star Wars, OC/General Grievous, chaptered fic)

Truth Within was (and still is) one of my most beloved writing projects--somewhat because, fun fact, it’s the first fanfiction I’ve ever written! 

Truth Within is a Star Wars fanfiction based in the prequel trilogy, specifically in the Clone Wars era. It features the adventures and coming-of-age of Sakajin Takio, a young woman with a calling to right the wrongs of her mother and become her own person in the process. Along the way she’s challenged to learn the ugly consequences of war, the pain of loss, and the worth of protecting those she cares for--all while trying to handle being the apprentice of General Grievous as a member of the Separatist forces.

Originally posted to fanfiction.net in the late 2000′s and having been overhauled at least twice since, this piece represents how I’ve matured and improved as a writer. Sakajin has grown as a character in much the same way I like to think I’ve grown as a person, so much that she remains my proudest creation to this day.

I love this fic with all of my heart and have a universe worth of things plotted, planned, outline and half-written for it, though hilariously due to the fandom and the very specific ship it contains (Sakajin and Grievous) it doesn’t attract a lot of readers--still, it remains one of the biggest and most influential projects that I hold dear, and I really hope that one day I can make it into something it deserves to be.

Memories of You (Star Wars, General Grievous, chaptered fic)

Another passion project, but much (much) more recent than Truth Within. The story follows the reader as once a lover of General Grievous when they had been left for dead as a servant. After the general dies and they are left alone, the reader is shocked to realize many months later that he’s actually alive--and is in fact the acting general for the Separatist armies. Drama and tension unfold as the two of them try to figure out how to move forward, having to balance the joy of reuniting with a lover and the reality of war and the danger it presents.

Drabblewatch (Overwatch, fic/drabble collection) [NSFW]

What started as a reblogged prompt list spiralled into something absolutely amazing; after writing so many fills, I decided that it would be smart to make a blog to host the specific content and, one thing led to another, and Drabblewatch was born as the very first of many other writing blogs that I would make for reader-insert content.

Started in 2016, Drabblewatch remains one of my most popular writing blogs and series, pushing me almost entirely into the reader-insert community where I have found no shortage of excitement, fun, satisfaction and encouragement. Though I haven’t touched this blog or fandom in quite a while, there’s still a lot of content for it.

...and, fun fact, I actually met my eventual fiance @blood--hunter because of my Drabblewatch writing ;3c

Just Off the Highway / Just Past the Mountains (WTNV, Cecil & Kevin, chaptered fics)

My entrance into the WTNV fandom is, compared to the rest of the fics on this list, a rather recent event. With the nature of the series and the encouragement of the fans of my writing, I have been able to create a lot of absolutely fantastic things--these two fics are perhaps the best examples of what I’ve been able to create thus far. JotH is a introduction fic putting the reader and Cecil together, while JPtM is similar in intent but pairing the reader and Kevin instead.

As the Sun Sets (Critical Role S2, Mollymauk, oneshot)

The reader is a member of the Fletchling and Moondrop Carnival, taken in when they decide that they may earn more coin for their musical skills on the road than at the mercy of those in their home city. They have grown close to many of the members of the carnival, Molly especially, and the reader learns that they may have more talents in magic than in music.

It’s a simple fic, but one that I absolutely adore--namely because I want to create far more content in the future for the Critical Role fandom. I’ve debated making this a multi-chapter fic, but I suppose only time will tell.

And perhaps, maybe one day soon, I’ll even have a Critical Role writing blog... ;3c

Reader-Inserts: A Guide & Background

 Omegaverse: Everything You Need to Know

These two entries are interesting, largely because they’re not actually fanfiction or such at all--they’re guides, and ones I’m rather proud of at that.

The first one is a guide for reader-inserts, detailing as much information about what they are, ways to write them and other bits of information from my years of experience in writing for the community. Though it’s by no means the only way to write such a lovely form of fiction, it’s a means for me to try and pass on as much of my own knowledge and experience as possible to normalize reader and self-insert fiction in this internet community of ours!

The second one is more of an informational perspective for a specific AU or trope, commonly revered to as omegaverse or A/B/O. It’s half-headcanon, half-background info, and from what I’ve heard has helped a lot of people understand this one interesting AU or universe setting in the fiction around them.

A Day on The Throne (MCU, Loki, oneshot) [NSFW]

If anyone wanted to know what my very first reader-insert work was, then the mystery has finally been revealed: it was with Loki! My first year of writing reader-inserts were a little clunky and utilized the ‘y/n’ system, but it’s interesting to compare this first work with what I write now, especially in making sure that my works are more accessible to people regardless of gender, sex, background or ethnicity. 

I’m certainly not perfect, but it’s nice to see that I’m always getting a little better than before!

Being a Human (Lover) (Daft Punk) [NSFW]

Being apart of the EDM (Daft Punk) fandom I think is actually where the last nail was put into the coffin for me, at least in terms of dedicating a lot of my time to reader-inserts as a speciality. 

The community was small and inviting, and a lot of people really encouraged my work and my potential as a writer to do bigger, better things. I actually met a lot of awesome people through the fandom, and to this day I consider @slowpokemegan one of my greatest friends and I am quite blessed to have met her because of this very fanfiction.

Collection of Suki’s Best Smut(tm)

Below is a list of what I consider some of my best smutty writing, though it’s absolutely not exhaustive since apparently out of the 150 fics I’ve posted to AO3, almost 80 of them are explicit and smutty in some form or another--consider these but a taste of what my writing career has created thus far :3c

Touch Me (RWBY, Ozpin)

It’s Best to Keep Me Pleased (RWBY, Torchwick)

Phone Call (FnaF, Phone Guy)

Silvairre’s Little Secret (FFXIV, Silvairre)

Lay Me Down to Sleep (Fallout 4, Maxson)

Heart-On (Undertale, Sans)

Audio Transmission (Lifeline, Taylor)

Touch Me, Have Me, Make Me Yours (The Dragon Prince, Aaravos)

Just Off the Highway (WTNV, Cecil)

Mine, Mine, Mine (WTNV, Kevin)

Have Me (Voltron, Lotor)

We’re Goin’ Down (LoZ: BoTW, Sidon)

Intimacy (Daft Punk)

[aquaburst3]

Some general writing advice from my years of creative writing both original works and fanfics. (Also, I’m only saying a few of these, just to keep this shorter. Might go into more depth later on.)

Keep in mind, you don’t have to heed all of these. Like all writing advice, you can ignore some of these. 

Disclaimer: I don’t have a degree in English or Creative Writing, I just took some random classes in college. Take this with a grain of salt.

Diversify your prose and sentence structure. 

Take out filler or redundant words to make the prose sound more punchy. (ie Basically, actually, there is, suddenly, etc) 

Have what I like to call “Standing in Front of Someone’s House in My Underwear Factor” within in the first couple chapters of your story. Hook in the reader right before or during a turning point or interesting part of the story, so they keep on turning the page. (For example, in FMA manga, it starts when Edward Elric is bleeding out on the floor with an arm torn off. This hooks in the reader, because it makes you wonder, “Hang on, what?! How the hell did that happen? I got read more of this to see what happens next.”) 

Focus on the core cast in the first few chapters in order to keep the story tighter. 

For the first couple chapters, limit the amount of information about the main character to the amount you would find on a profile page, such as: likes & dislikes, name, age, ethnicity, and, most importantly, their goal/motivation. 

In the first couple chapters, you want to establish tone and setting as well. 

Know when to “Show or Tell.” Usually when you are describing character’s emotions or how they see things, show. (Example: The man lumbered towards Jackson, brows furrowed.  “Hey, kid,” the man grunted, beefy arms folded over his pot belly.  “Where are you doing?” ) When you are transitioning from one scene to the next or need to give information in a quick amount of time, tell. 

Stay away from epithets (dialogue tags saying things like “the blond”). Describe the character in smaller increments within the first chapter, hitting the main details like hair, body type and things like that. After that, just use their name unless you want to put empathize on a key feature for dramatic effect. 

Along that same notion, avoid super long description paragraphs, since they can bog down the reader. 

Stay away from describing a character in a mirror or other reflective surfaces like the plague. 

Something that helps me to describe a character is comparing them to a family member or sibling, which also works for first person. Adding it into character actions works for first person as well. 

The amount you describe a character depends on their importance. If they’re a main character, you can describe them in more detail when they’re first introduced. If they are a minor or background character, only a couple descriptors would be good enough. 

Try not to describe the POV character doing actions they wouldn’t see themselves doing like blushing. Instead try describing it in a way how the character would “feel it.” (Saying, “My cheeks heated up,” vs, “I blushed.”) This doesn’t apply as much to things like smirking, smiling, frowning, quirking a brow or wiggling a brow, since you can feel yourself doing those actions. 

You don’t need any fancy tags with adverbs or use random words you find in a thesaurus. Just say “said” or “asked” for regular dialogue. If a character is really yelling or whispering, only use that word only then.     

Everything in a novel should serve a purpose. If an element or scene adds nothing to the story, scrap it. (Only do this during the second or third draft) 

If there are two characters that are very similar to one another, it’s better to combine them or scrap one of them all together. Having two very similar characters would make the story more muddled and you don’t want that. 

Characters should always be active and want something. No, not want. Desire something and will do anything to get it. But in order to get it, they have to overcome a lot of obstacles and struggle along the way. 

Good way to add a character arc is “want vs need.” Your character wants one things, but needs something else. 

Having a villain with a sob story isn’t necessary. Sometimes it’s more effective to have more monstrous characters, who had good upbringings that are still evil (like Gaston or Light Yagami) or have good intentions, but went about about it the wrong way (Verin from The Dragon Prince). 

A good way to humanize the mentor, keeping from seeming like a paragon with infinite expository wisdom rather then a character, is by having them make the same mistake as the person in the past, but they learnt from it. (For example, Iroh was once a general, who only cared about power. It wasn’t until his son died that he saw the error of his ways. Iroh tries to make Zuko realize the same thing throughout his journey.) Another is giving them a character arc or have flaws themselves. (Think Kamina from Gurren Laggan or Arataka from Mob Psycho.) 

Make sure your character’s motivations are clear and understandable. Not in the sense that they need to be sympathetic, but in that you can see the logic behind their choices. For example, while characters like Dexter Morgan, Aang and The Joker have varying degrees of sympathy, you understand why they make the choices that they do and their motivations. If you don’t do this, it’s an easy way to make your audience turn into that reaction picture of Winnie the Pooh looking at a page in confusion. 

If you imagine a character being white, write them like that. If you imagine a character being apart of a marginalized group (POC, LGBT, etc), even when you’re not apart of that group yourself, write them like that. However, if you choose to add diversity of any kind into your work and you are not apart of that group, do proper research, be self aware and make sure it's done respectfully. Using and listening to feedback from “Sensitivity Readers” or beta readers from that group will help you out a lot. Adding a character from any marginalized group for the hell of it, or worse, for "Woke Points," without knowing anything can also really backfire. 

One of the best ways to avoid cliche or tropey characters, at least for me, is getting inspired by people you know.  Think about other people in your life, whether they are friends, schoolmates, co workers or even people you know in passing and use them as inspiration for your characters. Just make sure that if you do that you do so respectfully and add in different traits to separate them the actual person.

Watch some writing advice videos on YouTube. Some great ones on the top of my head are: Hello Future Me, ShaelinWrites, Alexa Donne and Terrible Writing Advice (who has the funniest sponsorship bits I’ve seen from any YouTuber.) 

[skye-blacke]

Some ideas for the future of Destiny

Under the cut cos this is a long piece 

So I have been an avid Bungie fan for a long time, back in the Halo 2 days. I thought D1 was fine and was hesitant to jump into D2, only done it recently. And while I am fully aware I am a nameless nobody, I like writing and I like game. I want D3 or the future of Destiny to do well if it comes out. So I thought I would beat the rush and throw some of my ideas into the abyss of the Internet. I hope you like it.

QUALITY OF LIFE FIXES These are just small things I think would help improve the experience.

You're Fireteam should appear in cutscenes with you if they are there. GTA Online managed to do it. Destiny has always been hyped as a multiplayer experience, and as a result it feels really weird to do fights with a Fireteam who just vanish for the cutscenes. It also created a huge problem in D2 where you were the only Guardian who had their light, except for all the other ones that you played with. It was less of a shared story and more of a shared world with a single player story. Even if this was done in a little way, like the Fireteam leader did the main actions in the cutscene and the others are shown doing small things in the background like guarding a door, gesturing to each other (with one pointing out something to the other), or reacting to what is being said.

Let us buy more Ammo and Guns. Destiny 1 had this right with it both being purchasable and dropping in the world, it makes the tower feel more alive and then you don't end up in scenarios where you run out of ammo on your secondary and tertiary weapons and none drop.

Have people acknowledge your race. I mean it's good that they acknowledge your class but they should at least make reference to the fact you are Exo or Awoken or Human. Just small things.

Let us turn our characters around in the creation menu! I had an awful haircut that I hated in D1 because I couldn't see the back of my Awoken's head. It sucked. I hated it.

Speaking of, don't limit hair and paint to certain races and Genders. This excludes The Exo who should keep their robot bits, they might look a bit odd boltd on the side of my fleshy Awoken. You could in theory double up the amount of Exo customization to make up for this, but that would be Bungie's choice.

Third Person mode. We got attractive armour and shaders, let us see them. Nuff said.

BIGGER CHANGES

Fix Skill Trees. Okay so Destiny is suppose to be an MMORPG or at least an MMOFPS with RPG elements. Why do we have such limited ways to play. For an example on how I would do this, is Assassin's Creed Origins. Rather than have Seer, Hunter, and Warrior, you would have the Void, Arc, Solar abilities and you could spec in any and multiple directions while picking one as the "Primary" Super ability. Are you a Hunter with the Arc Staff but want to also use the Swarm Grenade and the Smoke ability? You can. Titans with the shield wall, Hammer of Sol and Lightning Grenade. Warlocks with a Healing Rift, a Stormtrance and Vortex Grenade. It would allow individuals to truly feel unique than just another Gunslinger/Voidwalker/Defender.

Fix the customisation. Destiny is literally awful at customisation. We live in a world with Fallout 76 and Dragon Age Inquisition level of customisation, even GTA does it better than Destiny does. Sliders really do matter for customisation, rather than a very limited set of customisation options. Also while you are at it, let us change our hair and war paint at a hairdressers or tattoo shop. You could add more in updates to further drive engagement and get people coming back.

A free camera mode. Come on Bungie, you practically pioneered it in Halo 3. Remember how the Machinima community exploded in Halo 3 and Reach and all that free advertising? Remember the WOW Machinima scene? Imagine if you could combine these. Furthermore look at the success Spiderman for PS4 has with its photo mode, there's a whole Subreddit dedicated to it. Destiny is beautiful. Let me enjoy it, also let me make Machinima again because 343 ruined it in Halo.

Player trading. I have an ornament for No Turning Back, my friend has No Turning Back. He doesn't want it, I do. I have to wait for the RNG to favour me. While this might lower engagement by having the ability to trade items to friends it would raise fun. Although Destiny is built around the loot and a trade system could mess this out you could fix this, maybe you can only trade once both people have finished the game?

I also have a story idea since I find the story in Destiny to be, undeveloped in certain ways. You don't have to read this if you don't want too, just a bit of speculative fan fiction.

PLOT IDEA

Act 1 starts with you and your Fireteam at the top of the world, you and your Fireteam are powerful and you seem to be close to finally saving the galaxy from the Darkness of the universe, capturing the big leaders of each faction. The Guardians are a tad bit cocky at this point, even taking a trophy from the Hive leader. However, near the end of Act 1 a big escape attempt is made by the capture aliens, and right at the end in the middle of the battle, The Traveller leaves. As a result, The Cable, The Vex and The Fallen follow it and Earth is left relatively safe.

Act 2 begins with a panic in the tower, Guardians can feel their powers slowly dropping and they are not happy. The Vanguards decide to send a group of Guardians out in the galaxy with only one goal, like the other species, find the Traveller and bring it home. Act 2 sends you and your Fireteam throughout The Galaxy, following what seems to be like a trail of breadcrumbs. Little pockets of power on new worlds. Every time you land on a new world, you set up a small base at your landing sight and NPC's who came with you set up shops. The Guardians becoming convinced that The Traveller had been stolen and was trying to leave a trail for them to follow. These breadcrumbs can be used to temporarily boost The Guardians powers, and introduce the new abilities. Finally, the trail runs cold but The Ghost discovers that the Vex seem to know where the Traveller is. The Guardians capture a member of the Vex and probe through the Vex hive mind, before discovering a horrible secret. The Vex are Humans. This specific one is a Human that the Guardians knew. Humans from a timeline where they never get their abilities back, and in a desperate attempt to keep some force of powers they converted themselves and ultimately travelled back in time in a power obsessed craze in order to try and harness the power of the Traveller and bring it to the future. After this, The Guardians finds the Traveller who has been found on a new world.

Act 3 focuses on trying to free The Traveller from this new species (New Guardians) who stole is power. You work on destabilising their society, while fighting off The Fallen, Cabal, and Vex. Eventually The Guardians push their way through to the Traveller, desperately fighting off the New Guardians while losing their power. Killing anyone who opposes them. However, when they reach The Traveller, a battered and damaged Guardian reaches out to try and regain their power. However, they fall to the ground and The Hive trophy tumbles out of their clothing. They pick it up, and stare at it. Finally realising that The Guardians have begun to worship and abuse The Travellers power like The Hive does with The Darkness. They finally understand that The Traveller didn't get stolen, but disgusted by what they saw in The Guardians chose to leave. They finish their quest learning the truth and lower their weapons against the New Guardians. Only when they understand and leave does The Traveller reach out to them to share its power with The New and Old Guardians, and the two generations of hero learn to live in harmony.

PLOT IDEA END

I really like Destiny and I want to love it, this is just the way I would do it personally.

I hope you all enjoyed the read.