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shine-of-aldhani · 3 years

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This post is going to be fandom-critical and Loki series-appreciative, so get out and block/unfollow/whatever while you can if that's not your cup of tea.

There is a trend in many fandoms of characters who are in opposition to the hero (villains, antiheroes etc) that is critical of the "redemption through death" scenario. The latest that comes to mind is Star Wars, but there are countless examples. The typical in-story narrative is that the villain had committed too many crimes and there is no place for him in the new world where the heroes won, so he's killed off - usually not by heroes but by tragic circumstances that allow him some positive light before the end (Loki in Thor2, Ben Solo in SW). Fans of the character argue that a fully realised, slow redemption would be an awesome storyline, and that it'd be both interesting and refreshing to look at the life post wrongdoing.

So far, no mainstream media has ever done a fully realised, psychologically grounded redemption storyline. Hollywood go-to idea to rehabilitate the villain is to make the villain useful to the heroes and ultimately just "forget" about the initial transgression. The initial bad deed is never looked back on, addressed or analysed except maybe as a funny oneliner. Because addressing shit is hard... And also because, as Loki series has shown us, the fandom doesn't really want to see the true psychologically grounded redemption storyline.

For the Loki series is exactly this: the first time a character must face uncomfortable truths about themselves, to better themselves. This is a process that isn't nice. It's a beatdown after a beatdown. It's humiliating, soul-destroying, there is much kneeling and grovelling and unflattering names. The character isn't shown as pretty and composed, he isn't allowed to wear nice clothes that give him a feeling of power. He feels useless, powerless and messes up a lot, for his self esteem is gone. He doesn't strut around showing off magic feats and yes, almost everyone around him is shown in better light. Because that's what a true redemption storyline is like. It's a deconstruction of the ego. Eventually, it will lead to a stronger and better sense of self, but first we must crawl on the floor. And the fans, who usually overidentify with the character and his background, just cannot take seeing him, and by extension themselves, in that light.

So what does the fandom do?

1) Insist that Loki does not need a redemption storyline. Because he was tortured by Thanos (this is fanon), because he was influenced by scepter (this is still mostly fanon but has a bit more substance), because he was emotionally abused by Odin (this is almost canon). Now before you crucify me - these are my favourite fanons, my go-to fanfiction, I adore them all. But. There is absolutely nothing incorrect or malicious with the Loki series going "You know what? Loki still carved out that eyeball, and I am not going to sit here and "address" the fact that Odin emotionally neglected him, because that's already been shown and is in the past. I am going to postulate that Loki, deep in his core, is ashamed of himself for his deeds, and that bringing up Odin isn't going to solve that shame, and explore how Loki can move forward from there. The story isn't not going to be about Odin or Thanos, who are both gone and dead, it's going to be about Loki -who is the one who gets to live with the consequences."

2) Insist that the series hates Loki and was written specifically to humiliate him. This ties back to my thesis that the fandom simply does not want to see what a true psychological work of a redemption storyline looks like, for the ego beatdown is the essential part of it. This is how the story of Ben Solo would have had to look like, had he survived Star Wars. This is how Thor 2 would have looked like, had we been following Loki and not Thor: Loki being chained by the same soldiers he commanded, being stripped of his armour, being led down the rainbow bridge and into the palace. In that movie, it would have been worse because he had personal history with all these people. In the series he gets TVA's indifferent approach, which should incidentally be easier to swallow.

3) Insist that Loki is not the protagonist of his own series. Apart from this not making an ounce of sense, this reading comes from the idea that only physical deeds are valid storytelling material. Sylvie is stronger than Loki, hence she's the protagonist. Mobius is in the position of power, hence he is more important than Loki. All the while Loki is out there, doing enormous self-work, changing by the hour and showcasing more stable coping techniques. But he's not glamorous while doing it and he's kneeling a lot, so it cannot be that the writers actually like him and wish him to do well in the long run.

4) Insist that the new Loki is OOC and give him a plain, insulting new nickname to differentiate him from the beloved and cool old Loki. The one who liberated eyeballs while clad in impeccable clothes because he was terrified of Thanos. Or the one whose non-existent coping mechanisms almost made him kill his own beloved brother in despair. The one who had plans upon plans and was always so ready for betrayal that he had no friends on his own. The one who would surely glamour awesome clothes onto himself to avoid signalling any weakness. The one who was incredibly high strung and could never allow any weakness. You guys want that Loki back? Ok, that's fair. That guy was deeply damaged, and very interesting to watch. But then, a story that takes these aspects from him (and make no mistake, all of them are maladaptive and trauma induced - all -of - them) isn't hating on Loki, or making him dumb, or exists to hurt you personally. It allows him to overcome his internal hurdles, lower his defences and eventually arrive to a better place.

So here I rest my thesis: actual well written redemption stories, of which Loki is the frigging first (and how groundbreaking is that) aren't really wanted by the fandom. Most fans would rather whitewash or cocoon themselves in the trauma aspect, leaving the actual responsibility and consequences out of it. Which is fine as a comping mechanism, fiction is escapism after all, you're all perfectly valid... But there should at least be enough self-awareness to differentiate between a good story that's uncomfortable/too heavy for you and a bad story with evil writers who either have no idea about Loki or specifically want to punish his fans.

The Loki series isn't the latter. It might not be the fantasy escapism most would have preferred, but it has a very specific and respectable goal and it's going about it in a grounded way which is - actually - fully respecting of Loki as a person. I swear that the series sees him as more capable of doing the work he needs to do than his own fans.

#loki series #meta #loki #fandom criticism

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skeptiquewrites · 2 years

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Drarry Tag Game

Tagged by @kbrick, delightful maker of this tag game, as well as @lqtraintracks @makeitp1nk and @goblinmatriarch.

✨ Drarry Tag Game! ✨ Answer any questions you’d like and ignore the rest!

When did you get into Drarry and why?

I started reading fic around 2005 and I was really indiscriminate about pairing. It was probably Underwater Light by Maya. I think mostly that I had been very immersed in HP and this seemed like a natural extension. Also I am long time fan of angst, hurt/comfort and enemies to lovers.

Which Drarry fic hooked you?

Drop Dead Gorgeous. 100% responsible for all you find here.

Top three favorite Drarry fics:

This is the question most likely to ruin me. Based solely on amount of reads it's something like:

What We Pretend We Can't See by gyzym

Dwelling by aideomai

Running on Air by @tinyhistory

Why can’t you quit them?

I really do love the fandom. I think if it were down to canon, I long ago would have exhausted my own interest but all the fic and art and friends are so wonderful. It is so vast and imaginative, and every time I think I've seen it all someone writes or draws or says something that makes me consider Drarry anew. I love that it's grown with me, in more ways than one. I love the push-pull of their dynamic, the chemistry, the question of it.

Would you rather be friends with Harry or Draco?

Hmmm, it really depends. I'm leaning Draco though, because he would be fun to go out with.

Who breaks your heart more often?

Harry. Only because often Harry is Going Through It, in a way I particularly relate to.

Ideal career for Harry? For Draco?

Draco: huge fan of Healer or Cursebreaker for him. I like highlighting that he's clever at magic. Harry: Academic/Researcher (let him be curious!) or Cursebreaker or Quidditch Player.

Harry and Draco are being sent to a desert island for a week with plenty of food and water. Each are allowed to bring three additional items (no wands). What do they bring?

Harry: Swiss Army Knife, Matches, Warm Quilt (he does not like being cold) Draco: First Aid Kit, Sunscreen, Book

Both are complaining the whole time.

Favorite non-Drarry HP character?

So many. Here I will profess my love for Hermione Granger, Percy Weasley, and Pansy Parkinson.

If you had to pick one, enemies to lovers or (enemies to) friends to lovers?

Enemies to lovers, but I do appreciate a very awkward interim stage where neither is quite sure where they stand.

Would you rather read a fic that made you laugh or one that made you cry?

I'm here to cry, folks. I'll admit it.

Three songs that scream Drarry to you (feel free to include the Drarry-est lyrics!):

Life Is A Long Time by Los Campesinos (Between my waterfalls and your landslides, there's cartography in every scar) Straight To My Head by You Me At Six (Going straight to my head like you used to/Wouldn't change anything that we've been through) Do I Wanna Know by Arctic Monkeys (Maybe I'm too busy being yours to fall for someone new) Honourable mentions: Loud Places by Jamie xx, Gimme Sympathy by Metric, Things We Lost in the Fire by Bastille

Favorite authors outside of fic?

For a cross section of my reading: Hanif Abdurraqib, Talia Hibbert, Alisha Rai, Irene Nemirovsky, Silvia Moreno-Garcia, Zen Cho.

Tagging but only if it seems fun to you: @fw00shy @mintamintathings @nv-md @maesterchill you, if you are like I want to be tagged, I have Thoughts

#drarry #tag game #drarry tag game

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baku-bowl · 3 years

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broke 1,000 followers (the fuck? I don't even make content people), so decided to write up a list of some (but not all, I'll make other lists later) of my favorite Bakugou-centric fic recs. my tastes run towards hurt/comfort, as you'll probably figure from the list. if there are some Baku-centric fics that you've enjoyed that aren't on here, please add them - this is definitely not a complete list of the ones I've read and love, but I'm always up for some recs. <3

fair warning, most of these are wips.

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Social Media 101 by WindsChild8178

Part 1: Survival Guide to Fucking Up

[Solely Bakugou’s point of view]

Katsuki Bakugou doesn’t have a gentle bone in his body. He’s aggressive in everything he does and does everything with 100% of his heart in it. After the Sport’s Festival, Katsuki starts to get harassed by strangers for his unheroic demeanor. It starts with letters but it doesn’t end there. The moment Katsuki realizes the harassment has entered dangerous territory and he needs to tell someone, it’s already too late.

Part 2: Post Traumatic Life Disorder

[Point of View opens up to Bakugou, teachers and classmates]

When the Dorms are finally built, everyone is settling in well, but things become tense as people begin to realize something isn’t right with the recently rescued Bakugou.

[Cannon compliant right up to after the License Exam]

hands down my favorite fic in the fandom right now. it’s the one that converted me into a Bakugou lover. if you have any fondness for Bakugou as a character then it’s likely you’ve read this one already, but if not, I can’t recommend it enough. incredibly depressing, but with the hope that comfort is coming soon in the next few chapters.

The Kids Will Be Alright, Eventually by NotWithThatAttitude

Bakugou is spiraling in the aftermath of Kamino and his friends are starting to notice. He's stubborn, aggressively independent, and less than willing to dig into his past, but after a breakdown that ends with a painful secret revealed, he starts to get help.

Whether he likes it or not.

Meanwhile, a new kind of villain threatens an uneasy peace following the loss of Allmight. Whispers build as a new narrative slowly takes shape:

Hero society needs to change.

Feat. Therapy, Dadzawa, best boy Kirishima, dysfunctional families, healing, growing up, and the mortifying ordeal of being known

guys.. the medical accuracy of this fic is just... *chef’s kiss*

I rarely see mental health genuinely handled well in fics, but this one goes above and beyond. kudos to the author for doing such excellent research into psychology, and making the application of it in here not-boring. also, while this one does have abusive!Mitsuki, it’s done in a way that feels realistic, and how I usually will see it occur in real life, rather than just for the hurt/comfort feels.

fair warning, the fic can be incredibly triggering (themes of severe depression, PTSD, panic attacks, rape survival, abuse survival, suicidal ideation/attempted suicide, among other things), so be safe and heed the tw’s if you decide to read. legitimately one of my Top Favorite fics in this fandom.

Lock and Key by autochorystalize

Bakugou made a choked, gravelly noise before croaking out a low, “You can’t be serious.” His fingers ached to blow up everything in the room.

“I’m sorry, young man, but you can’t change reality! This sometimes happens.” Recovery Girl clicked through his file, adding a new symbol in a previously empty slot.

- - -

A pair of eyes discreetly locked on to an explosive blond plowing his way forward, parting people in his path. He recognized the kid, of course. Anyone in the underbelly of society would recognize him, after the publicity of both UA’s Sports Festival and the events leading up to All Might’s fall. The uniform he was wearing cast away any doubts about the young man’s identity.

It was a bit of a surprise that the little firecracker presented as an omega.

- - - - - - - - -

Or: there are certain types of evil that seemed too distant, archaic violations and perversions that would never actually threaten bright-eyed heroes-in-training in the clean, modern world...but sometimes those evils aren't as distant as one might think.

remember when I said that I love a/b/o fics that are full of plot and world-building and gender-induced tension? that’s this one. the OC’s are fabulous and you love to hate ‘em. also, it’s the fic that made me fall head-over-heels for the TodoBaku dynamic, so it’s got a special place in my cold, dead heart.

be warned, there are rather explicit non-con scenes between an adult (OC) and a minor (Bakugou) in this one, but the author warns for them in advance, and you could likely skip those parts without missing too much if you need to.

Never and Always, Eventually by Wawa_Boonliang

"Katsuki can remember the exact moment that he and Deku…that he and Midoriya Izuku became friends. He can also remember the moment he and Izuku became fierce rivals, a time when they were almost enemies.

However, what he remembers most clearly about their relationship is the moment that they moved passed rivals and became something more close than mere friends. Something more like brotherhood, something forged in fire and secured in the middle of a battlefield or in the midst of natural disaster where the number of the dead was climbing ever higher. And then it was torn from him."

Katsuki is given a second chance. A chance to save everyone. A chance to change everything.

But should he?

y’all. I’m a slutty, slutty whore for time travel fics. a time travel fic with autistic!coded Bakugou? it was love at first read.

Lessons Learned by Sif (Rosae)

Rather than the police station, Katsuki's friends bring him to a hospital after rescuing him from the villains. His wounds were minor, but it didn't make having them treated any less important. As it would so happen, Best Jeanist was also brought to this hospital after the attack.

Sometimes, small choices have a big impact on how a story plays out.

classic Bakugou hurt/comfort. this fic opened me up to the potential that could be a genuinely good Best Jeanist & Katsuki mentor-mentee relationship, and I kind of dig it and search ravenously for it in other fics now. I’m also a huge fan of the behind-the-scences Pro Hero Chat group.

Slope by sunfleurmoon

“I’m not a hero. Or a good person,” Katsuki says, giving Aizawa a pointed look, “So leave me alone. I don’t care about the League or UA, or you—” The two years he’s been away have been fine, more than fine, fucking fantastic actually if you ignore the bi-monthly near-death experiences. He doesn’t need this place. He doesn’t miss this place.

And yet, longing, a childish desire to tear up, or maybe blow something to bits, they all twist in his chest like a band of traitors regardless. “—I just want to go home.”

Or: the one where Katsuki and Izuku fail the first term exam, Aizawa discovers their pasts, and Katsuki is booted from UA. Featuring questionable descriptions of villain organizations, a slightly illegal moving shop, and your favorite emotionally constipated badass in distress with a newly discovered penchant for collecting strays.

paaaaaaiiiiiiiin. the hurt is ALIVE in this one. lots of tortured, angsty exploding child goodness. the OC’s are excellently crafted, and the Bakugou & Eri relationship? beautiful. definitely deserves a read.

Ground Zero by WindsChild8178

In the wake of Kamino, Katsuki is tested more than anyone could imagine. Bound by a villain’s quirk to keep his silence or die, he lives each day knowing it might very well be his last. He continues to work towards becoming a hero, keeping his secret from his classmates and teachers, focusing on making it through each day and trying not to allow the panic or depression to get the best of him. When the villain finally corners him with demands in exchange for his life, there is really only one answer Katsuki Bakugou can give.

honestly don't know which I want updated more - social media 101 or ground zero. this author's fics are amazing, and I really wasn't expecting the twist in this one. can't wait for windschild to come back to this fic some day.

The Defect by LadyGreenFrisbee

"Why do you want to win the Sports Festival so badly?"

Because I want to see if the defect could usurp the masterpiece.

(In which Endeavor holds a terrible secret and Bakugo has to suffer since childhood for it.)

a great concept, and I adore the shouto and Katsuki sibling interaction here. hoping the author will come back to this one some day.

A Name That You'll Remember by Heronfem

Kirishima Eijirou is a Hero. Bakugou Katsuki... is not. Trapped in his toxic workplace and increasingly desperate to get out, Red Riot's days are only brightened by a new villain known as Caution, who's not exactly villainous and keeps accidentally doing good deeds. But when a real villain appears, a threat from the past that demands that Red Riot make the ultimate sacrifice to keep the public safe, Bakugou is forced into saving the day... and eventually, Red Riot himself.

sob story good guy villains are my weakness, this fic is a gem, and I'd kill for the sequel.

Our Hero by AnonymousTwit

He felt everything jerk to the side and throw his balance off before he saw anything, dust clouding his vision and irritating his lungs as the earth itself opened up to swallow them whole. For a single moment, in a millisecond's time, his wild eyes locked with Raccoon Eyes', hers alight with fear and adrenaline-fueled desperation. Somewhere in the back of his mind, he realized that it was the first time she'd looked at him with something other than long-deserved hatred in days.

And then he was free falling.

After a particularly nasty encounter between childhood friends, the class learns about Bakugou and Midoriya's dark history and practically ostracizes Bakugou while trying to defend Midoriya. An earthquake during an outing has all sides regretting their decisions.

just fucking tear apart my self-sacrificing faves in every way imaginable while their loved ones watch on in terror. 💖🥰💖 this one is heavy on the Bakusquad and Class-1A feels, and VERY heavy on the Mina & Bakugou relationship (platonic).

Running back the tape, watching it replay by Faralyne

For someone ripped from their time, ripped from the few but strong relationships built by time and personal development, by self-reflection and swallowed pride, ripped from the one thing that made him feel worthwhile and needed and put-together, and forced to forge everything over again—Katsuki thinks he is handling it pretty fucking well.

A villain’s quirk sends a 29-year-old Bakugou back in time to his middle school days.

am I a sucker for time travel? yes. am I a sucker for vigilante!bakugou? also yes. am I a sucker for this fic? literally refreshing the page in wait for an update as we speak.

Liability by sandelf

After All-Might dies rescuing Bakugou from the League, Bakugou is determined to prove it wasn't for nothing.

But the world is against him, his grief is overwhelming, and his stability is splitting at the edges.

very self-indulgent bakugou angst. tw for harassment, severe depression, and suicidality.

Special Mentions:

How To Win The Sport Festival: A Step By Step Guide by mhwright

Short re-imagining of the Sports Festival Arc if Shinso had planned a little better and worked a little harder to win the Sports Festival and if the match-ups had been slightly different. Self-indulgent fic of watching him succeed.

this is completely Shinsou-centric, not Bakugou-centric, but I love and adore it and am dying for a sequel. Shinsou is Best Boy here and you'll be rooting for him the whole time.

#fic rec #katsuki bakugou #bakugou #seriously though if you have a rec for me please always assume i will be unbearably grateful for it #and hit me up with it in the comments or through messaging #thanks for the follows y'all!

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sneakyboymerlin · 3 years

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Once again extrapolating on my nature deity Merlin theory, with a particular focus on how Merlin interacts with the cycles of birth, life, and death…

Merlin understands all too well how all life comes from death and all death from life. Realistically, he knows that people must hunt or scavenge to survive. But, even so, he sees unnecessary cruelty against animals—e.g. Arthur hunting for sport—and, just as he does for people, sabotages from the sidelines.

(And I think that fandom doesn’t enjoy nuance very much and tries to pin Merlin as either a trigger-happy murderer or a full vegan who couldn’t hurt a leaf, neither of which is accurate, but that’s another post.)

By no means is he against hunting for food, having lived in Ealdor for the better part of two decades; not when he and his friends were short on food in 1x10/11 and 3x13, not when it’s needed. Merlin is not the type to put perfectly good food to waste—we catch him eating Arthur’s leftovers in 4x10, for example. Additionally, with no indication that Merlin is against domesticated animal consumption, it’s easy to infer that he regards hunting from a practical perspective.

Just as he understands that killing a person in self-defense or in defense of others is an awful necessity, he would also never harm a person purely for his own enjoyment—he is on the receiving end of this more often than not, as a servant who is frequently taken advantage of by nobles. And so he applies this rule to animals as well: he’ll hunt to stave off starvation, but never for the supposed euphoric rush of a kill. He doesn’t understand Arthur’s enjoyment in this, just as Arthur doesn’t understand Merlin’s repulsion to it.

It’s easy to assume that being connected to nature means that Merlin is just a fan of deer and bunnies, but the reality is that innocence exists amongst the predators as much as the prey. Merlin knows this and applies it to his own life. But this does not mean he condones the needless killing of helpless animals.

What fascinates fans is how Merlin extends his sympathy to animals, defends them to people who don’t seem to care, and how this ties into his apparent magical connection to the natural world. If Merlin is able to feel how “full of life […] every tree, every leaf, every insect” is, then how has this influenced his prior actions and following behavior? Why does Merlin mistake this for a universal experience, only realizing after his explanation that other people do not feel the same way and have never met someone who is so sensitive to nature?

Humans are a natural factor of our ecosystems. Hunting is necessary to maintain a certain balance that has existed for thousands of years and to prevent the overpopulation of prey animals. In this way, humans fulfill a similar role to any other predator in the wild, same as when a predator’s body is decomposed and becomes nutrients for the trees.

But Merlin can only observe this system from afar. His own body can never be a part of the full cycle because he cannot stay dead and allow his physical body to become new life. He merely oversees nature and applies his will to support/maintain fair hunting.

He has a natural sense of justice and compassion for all living things, be it a creature of magic like the unicorn or a regular prey animal like a deer. He sees these beings as ultimately defenseless against human inventions/weaponry, whereas—from Merlin’s perspective—Arthur is convinced of his full superiority to animals and feels entitled to abuse his power for his own entertainment. (Although, it’s easier to see the fault of human social constructs if you’re at the bottom rung of the ladder like Merlin is.)

To make a long story short, Merlin is incredibly in touch with nature on both a metaphysical and instinctual level. He’s not inconsistent in how much he values nature, he simply uses as much of his environment as he needs to—no more, no less—and wishes that other people would follow his lead there.

Merlin can sense the harmony and cacophony of nature in ways other people can’t comprehend, but is comparable to a person’s ability for gauging the mood of other humans. This connection strengthens Merlin’s resolve to treat nature fairly, an ideal which necessitates the nuance and exchange of survival, as opposed to divorcing himself from the morbid bits.

Ultimately, Merlin is not much different from the rest of nature (including humanity)—rather, he epitomizes this shared, forgotten quality so instinctively that it stands out to everyone else, like the sudden conscious thought of your heart beating. It’s always there, but you have only a fleeting awareness of it, unlike our hyper-sensitive Merlin. Deity Merlin is intrinsically representative of nature.

#merlin is a minor nature deity #immortal!merlin #merlin emrys #bbc merlin #mine #ooh it’s been weeks since I typed this wtf #well here’s my old 3am tags:#I think it’s tempting to flanderize Merlin and treat him as one extreme or another but his character is much more complex than that #why settle for narrow ideas when you can sift through a rich plethora of critically thought-out inferences #from your own original interpretation of canon ??? it can be good to divorce yourself from ideas popularly accepted by the fandom at large.#it’s always good to question things when they just don’t add up

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utilitycaster · 3 years

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EXU finale thoughts

I think basically everything I said last week stands; loved the characters, loved the world and the descriptions, for the most part a huge fan of Aabria’s DM calls re rules/mechanics (granting boons, allowing for a lot of flexibility but also making the characters justify and roll for it), but the plot/pacing really fell flat for me,

I want to stave off the “not all things need to be answered” criticism here; I’m not asking for that. I am however asking for enough details to get me emotionally invested in the final fight, and I didn’t feel like I had that. Myr’atta’s attack felt no different than the party running into a corrupted treant in the jungle - I was far more interested in the weird cube last week. I still don’t know why she felt it necessary to have Ted for herself. I can accept not knowing how Ted became a patron, but the idea that she could be lost to Opal lacked any weight because it wasn’t present as a threat until it was already happening.

I don’t mind the stingers - in fact I think the one with Poska at the end, had this been a story that felt contained but also included hooks for future EXU seasons, would have been fantastic! But if the buildup to the final battle is almost entirely stingers meant for the audience, the main characters feel disengaged from what's supposed to be the main plot. It felt like a surprise to them, which means there was no tension buildup and that it was hard to care.

I think the same story structure, honestly, could have existed - the biggest flaw was that the party never really knew what was going on so they were just reacting rather than planning. I honestly think a single reveal that Myr’atta was after them and behind the attacks near Gilmore’s store, and a second reveal that she was trying to control Ted, would have changed my opinion entirely. If the party left Emon not just because of Poska and the need to investigate the rune, but because Myr’atta was chasing them, and if they kept moving south because of this; then even though there would still be all these different threads and the events would have played out similarly, Myr’atta would actually feel like the main villain and the other elements would have added additional pressure and time restraints. As is, Myr’atta felt like an annoying distraction from far more intriguing elements.

To compare to campaign 2: I thought Lucien had the most rancid vibes that have ever existed - like, truly, zero positive traits - and wanted him dead - but I knew why he was doing what he was doing and that made me deeply invested in the story. Here, it felt like the party was being pursued by a bear and Myr’atta was a mosquito that was bothering them. It felt like Poska’s crew or servants of Lolth or some threat from the plane of fire or even the Iron Authority with an imprisoned Umeji could have shown up as the BBEG, and I’d have felt it was equally plausible and in several of those cases, more narratively fitting and emotionally engaging.

In short: there were several different plotlines, which is fine and even good, but the one the final battle and emotional beats hinged on was the one I cared about the least. Even the inclusion of the circlet and hints that Myr’atta was perhaps responsible for the earthquake near Emon didn’t fully land; Opal was (other than Orym) the party member least tied to the circlet, with no prior interactions with Lolth specifically because she’d spent those dream sequences with Ted.

The hook for existing fans regarding Thordak’s Crater also failed to pay off and I need to stress that “but Matt probably gave that as a starting point” is not a good explanation; either work within the restrictions, or don’t, but a vague inclusion with no payoff in a limited run series really cannot be spun into anything good. I actually think including past lore is good, but because there was no payoff, both new potential viewers and existing fans didn’t get anything out of this. Let’s be real: this is a fandom where people got loudly emotional on social media at the mere idea of Vax showing up in a non-canon one-shot where he would almost certainly be murdered in like three rounds. You don’t really need to sell this to existing fans beyond saying "Emon."

This isn’t to say I didn’t enjoy myself, because for the most part I did (although the finale for me, because of the reasons I stated, was by far the weakest episode). I also completely acknowledge this is their first attempt at this shorter format, which is much less forgiving of digressions and tangents, and there probably were a lot of competing expectations. In the end, the main problem was, as I’ve said before, a lot of enthusiasm for the world and trying to be all things to all people. I can’t fault anyone for that; neither can I deny it led to a somewhat rocky and disappointing result.

I’d watch a new season. I’d even be excited for a more tightly plotted follow-up to this one. But also I’ve been a fan of the show for 3+ years and have seen Aabria in several other shows so there’s a lot of built-up goodwill. If I had a friend who was interested in checking out CR but intimidated by the amount of material, or a friend who had taken a break after campaign 2, I would probably recommend they just wait for C3 or hold off to see if EXU season 2 is more tightly plotted.

#critical role spoilers #exandria unlimited #critical role

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lonewolfel · 2 years

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So I had this thought last night while I was trying to sleep. I will be comparing Belos to the Sith Inquisitor from SWTOR. I know that I am likely the only person that is a fan of both these fandoms, but I want to write this down so it will get out of my head. Spoilers up to Hollow Mind and the Sith Inquisitor story line along with everything up to Echoes of Oblivion.

At first when I thought of who Belos would be in SWTOR I was thinking Valkorion. After all, they are both long living with different forms (Belos/Philip and Valkorion/Tenebrae/Vitiate) along with being an enemy then seemingly an ally (with backstabbing at the end of both partnerships) then enemy again. It seemed so cut and dry. Both are master manipulators that have the same goal of wiping out all life. Yet narratively I believe that Belos is actually closer to the Sith Inquisitor.

Oppressive beginnings

Belos as we know is Puritans. That society was ruled through rules and superstitions. Anything fun or didn't match with the ideals of a good Puritans were seen as satanic and dangerous. Now I don’t know what social class Philip was in but based on his ability to write and keep a research journal (even if I question how much of it was written just by him) I would say he was probably upper class perhaps related to the preacher. This would have likely put more pressure on Philip to conform and live by the expectations of the Puritans.

The Sith Inquisitor started off as a slave. They are expected to do exactly what their master says or face harsh punishments (considering its the Sith Empire the punishments are extremely harsh). They were were nothing more than vermin to be done with as their master(s) see fit. They weren’t even seen as humanoid.

Stuck in a new world

For Belos it is literal. He gets trapped in the Boiling Isles with no way of getting home. While he never accepted the Boiling Isles as his new home he has decided to make the best of a bad situation (in his mind). He rises to the top and manipulates the population to do his bidding.

For the Sith Inquisitor it is more figurative. They went from being a slave to a Sith. Just like Belos they couldn’t return to being a slave. From there, they have two options to fully embrace the role of a Sith or change what it means to be a Sith.

Power Ups

As far as I can tell Belos seems to use Palismen as a sort of power up. They allow him to use magic without any natural abilities and keep the glyphs from eating him away. The palismen souls enter Belos’s mind which is similar to the Sith Inquisitor’s story line. They go from planet to planet collecting the souls of dead Force wielders. They both deal with body decay (granted Belos’s seems to be from the glyphs carved into his skin rather than the palismen but it works for the comparison) and mental consequences.

Though there is a difference (besides the fact that Belos has to kill to get the spirits). As the Sith Inquisitor is the pc that means there are options. You can subjugate and keep the souls collected like Belos or you can make a deal with them and release them (possibly allowing them to become one with the Force).

Rise to Power

Both rose to prominence with Belos being the Emperor and the Sith Inquisitor being on the Dark Council, The Alliance Commander, and if you go Dark Side Emperor(ess) of Zakuul. Both their path’s were pathed in blood in betrayal (though for Sith Inquisitor you are more the one betrayed for both paths. I need to double check for sure it has been a long time since I played dark side).

Manipulation

Belos used his abilities in manipulation to become Emperor of the Boiling Isles. He also used it to keep Hunter inline. So much so that Hunter is at first in denial that his “uncle” could be anything but good despite what little the audience sees of their relationship it is clear that Hunter is abused by Belos. The Boiling Isles civilians for the most part are so loyal to Belos that they take everything he says extremely seriously and doesn’t even allow themselves to doubt Belos.

The Sith Inquisitor’s biggest moment of manipulation is when they convince Ashara to become their apprentice. Though ironically the light side path has them manipulate far more than the dark side path. This is because they have to talk people out of fighting or even killing them.

Also they both run a cult. Enough said.

I wonder what it says about me that my favorite class story is the Sith Inquisitor’s.

Thank you for reading this. This is all I have at the moment. I’ll happily answer any questions you have. I also may add onto this in the future.

#owl house #toh belos #Valkorion #swtor sith inquisitor #swtor #emperor belos #toh #the owl house #Tenebrae #vitiate #Star Wars The Old Republic #toh hunter #ashara zavros #analysis

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itsclydebitches · 3 years

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so ironwood was confirmed to be dead by Miles in a $42 cameo session, where the person who bought it had asked for "comforting words to soothe our anguished souls" bc she was an ironwood fan and wanted a pick-me-up after that devastating finale. miles' response was to essentially mock his fans (it really sounded like that, especially since he ended with "thank you jimmy, may you rest in pieces, crushed beneath the weight of the kingdom you tried so hard to hold up above your head."

apparently the VA, jason rose, confirmed it in DMs w the same fan who sent in the cameo ask. so like, quite apart from how rude and disrespectful it was of miles to make a mockery of james in a cameo where he'd been specifically asked for comforting words regarding the character, ngl but i think that if you have to confirm a MAJOR CHARACTER is dead outside of canon bc you failed to actually show it on screen.....you've failed as a writer. and also that kind of thing shouldn't be confirmed in an expensive and exclusive interview lmao like how hard would it have been to just talk about good aspects to james' character instead of calling him a dickbag and saying 'don't do a genocide, guys!!'

it reeks of unprofessionalism and also it just makes everything surrounding ironwood's character arc even worse since apparently 'his fate was sealed' from the moment he was introduced to the show.

Me, who received the first Moderna shot yesterday (🎉 🎉 🎉 ): Ugh I feel too crappy to answer asks today

Me, upon hearing this news: You know, I have suddenly found an untapped source of energy

Okay, all joking aside, I watched the vid and it’s definitely a lot. I don’t have any information about the request itself except for what Miles mentions in the recording, so I can’t speak to what the fan may have been looking for outside of that, but some highlights include:

“This is for the filth in my degenerate discord server” - Yeah, that’s how a lot of us (fans) talk about ourselves. It sounds like someone who really enjoys Ironwood and makes joking, self-deprecating comments about their love of a character. That’s familiar to me and speaks to the expectation that they hoped for something other than what they got. At least, if I’d sent in a request like that I wouldn’t be happy with the vid, but that’s obviously my own perspective and not this fan’s. I’d be very curious to know their own thoughts though...

“Sometimes a character we like doesn’t make it, does something we don’t agree with... or both!” - That is indeed how characters work! The real question is whether their death/actions make sense within the story, which is not addressed here. Many fans who enjoyed Ironwood don’t have a problem with him dying or turning into a villain — I’ve been honest about my acceptance of either/both, regardless of personal preference, provided it was written well — and that was always the issue. Not what happened to Ironwood, but how it happened.

“James Ironwood’s fate was sealed the moment his character was conceived many years ago.” - Personally, I don’t believe this. RT makes a lot of grand, sweeping statements about what’s been planned “for years” or “since the beginning” and too often we’re faced with writing that directly contradicts that. Though it’s unlikely we’ll ever know the truth, neither option paints the writing team in a good light. Either they’re straight up lying about what’s been planned (or twisting tossed out possibilities into assurances after the fact. For example, someone once suggested Ironwood might become a villain somehow at some point and now that’s presented as, ‘We’ve deliberately been working towards this specific ending for years’), or they’re being truthful and just... can’t write what they want to write. It doesn’t sound good when a writer says, ‘I’ve planned this the whole time’ and a good chunk of the fandom responds, ‘Then why couldn’t we see that planning this whole time?’

“When James was introduced we intentionally made him look like kind of a big dickbag, but then we realized that dickbag had a heart and was also half metal, and that was pretty cool!” - I don’t even know what to make of this. I’ve deconstructed his introduction before, but to summarize here, he’s presented as no more of a “dickbag” than Ozpin who may not be doing enough to protect the people, Winter who allowed herself to get taunted into a fight on campus, or Qrow who deliberately started that fight while drunk. Glynda is the only one who is arguably innocent here. The implication seems to be that obviously Ironwood became a villain because “we intentionally made him look like kind of a big dickbag” but then... does that mean Qrow will become a villain too someday??

The comments about them realizing he had a heart and was half metal just speak to that lack of planning. No, you obviously didn’t plan this downfall from the start if you “realized” something as basic as him caring for others partway through writing him and then allowed that care to drive his character for so long that the decent into villainy read as OOC, rather than inevitable. You obviously weren’t writing him with a backstory that influenced his character — of which his semblance is a major part — if you “realized” he was half-metal... whenever that happened. The fact that we never saw that backstory, or the semblance on screen, or returned to his half-metal nature outside of a ‘That’s coding for evilness’ theme again speaks to the fact that either a) none of this was actually planned or b) the execution is seriously lacking here.

“Let us all take a moment to thank General James Ironwood for his service to the Kingdom of Atlas, but... at the end of the day, don’t do a genocide [laughs]” - I’m having trouble articulating why I dislike this. I’m really too tired to be unpacking this right now (lol), but it has something to do with — as you say, anon — that mocking tone. Something else to do with the surge of purity culture in recent years. The tone feels like it’s tied up in an unsaid, ‘You like the character who tried to commit genocide?’ accusation when, you know, he’s a fictional character. People can like characters who do bad things. More significantly, he’s a fictional character Miles wrote. There’s something particularly distasteful about writers who feel like they’re laughing at fans for liking something when they created the thing with the intent that we would like it. And many did. So they gave attention, time, money, passion, etc. to the work and then when that part of the work finished, the creator appears to make light of that investment? Idk, I’m speaking about more than just this one line — the tone of the vid as a whole, really — but it feels much less like “You enjoy Ironwood! 😄” and more “You enjoy Ironwood... 😬” Like yeah, fans enjoyed the character that you wanted them to enjoy who you wrote to have a heart and then suddenly commit genocide instead. There’s definitely nothing complicated in all that.

“Thank you, Jimmy. May you rest in pieces crushed beneath the weight of the kingdom you tried so hard to hold above your head. Amen.” - All of the above x2 with the added issue that this was never shown on screen. Miles presents Ironwood’s arc like this seven year long plan when in fact they couldn’t even manage the basic move of telling the audience what happened to the character in his final hour. The fact that a fan had to pay to find out whether Ironwood is dead is not a gold star for the writing.

Every time the RWBY crew speaks about the story in supplementary material the canon itself gets worse. Hyping Clover/Qrow on social media pushes the canon closer to queerbaiting. We’re way closer to that with them hyping Blake/Yang. Long ago comments about Ozpin’s cane suddenly make Volume 8 a retcon. A Q&A about Ironwood’s semblance makes his arc a thousand times more confusing about how we’re supposed to read his character — to name just a few. Now this. When a friend first told me this info had dropped I thought, “Thank god. He’s not coming back then. I don’t want them writing Ironwood’s character anymore,” but really... can we believe anything the crew says? “Crushed beneath the weight of his kingdom” doesn’t mean Ironwood won’t show up in Volume 9 if it’s a spirit world type adventure. It doesn’t mean he won’t show up three years from now with even more metal in his body and a, “We said he was crushed, not that he was dead ;)” explanation. Hell, it doesn’t even mean he won’t show up with no explanation at all because, as established, what’s said in supplementary works and what happens on screen are two entirely separate things. Iffy as the vid may come across to those who did like Ironwood, I was initially happy that it at least gave us some closure... but now I’m not even sure about that.

#rwby #rwde #mymetas #Anonymous

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tlbodine · 3 years

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The Horror Genius of Five Nights At Freddy’s

I’ve been playing FNAF: Help Wanted VR on my Oculus Quest lately (a birthday present to myself -- I know I’m late to that party!) and it’s reignited in me my old love of this series. I know Scott Cawthon’s politics aren’t great, but I don’t think there’s any malice in his heart beyond usual Christian conservative nonsense -- and I think he stepped down as graciously and magnanimously as possible when confronted about it. Time will judge Scott Cawthon’s politics, and that’s not what I’m here to talk about. I want to talk about what makes these games so damn special, from a horror, design, and marketing perspective. I think there’s really SO MUCH to be learned from studying these games and the wider influence they’ve had as intellectual property.

What Is FNAF?

In case you’ve somehow been living under a rock for the last seven years, Five Nights At Freddy’s (hereafter, FNAF) is a horror franchise spanning 17 games (10 main games + some spinoffs and troll games, we’ll get to that), 27 books, a movie deal, and a couple live-action attractions.

But before it exploded into that kind of tremendous IP, it started out as a single indie pont-and-click game created entirely by one dude, Scott Cawthon. Cawthon had developed other games in the past without much fame or success, including some Christian children’s entertainment. He was working as a cashier at Dollar General and making games in his spare time -- and most of those games got panned.

So he tried making something different.

After being criticized that the characters in one of his children’s games looked like soulless, creepy animatronics, Cawthon had his lightbulb moment and created a horror game centered on....creepy animatronics!

The rest, as they say, is history.

The Genius of FNAF’s Horror Elements

In the first FNAF game, you play as a night security guard at Freddy Fazbear’s Pizza, a sort of ersatz Chuck-E-Cheese establishment. The animatronics are on free-roaming mode at night, but you don’t want to let them find you in your security room so you have to watch them move through the building on security camera monitors. If they get too close, you can slam your security room doors closed. But be careful, because this restaurant operates on a shoestring budget, and the power will go off if you keep the doors closed too long or flicker the lights too often. And once the lights go out, you’re helpless against the animatronics in the dark.

Guiding you through your gameplay is a fellow employee, Phone Guy, who calls you each night with some helpful advice. Phone Guy is voiced by Cawthon himself, and listening to his tapes gives you some hints of the game’s underlying story as well as telling you how to play. A few newspaper clippings and other bits of scrap material help to fill in more details of the story.

Over the next set of games, the story would be further developed, with each new game introducing new mechanics and variations on the theme -- in one, you don a mask to slip past the notice of animatronics; in another, you have to play sound cues to lure an animatronic away from you. By the fourth game, the setup was changed completely, now featuring a child with a flashlight hiding from the monsters outside his door -- nightmarish versions of the beloved child-friendly mascots. The mechanics change just enough between variations to keep things fresh while maintaining a consistent brand.

There are so many things these games do well from a storytelling and horror perspective:

Jump Scares: It’s easy to shrug these games off for relying heavily on jump scares, and they absolutely do have a lot of them. But they’re used strategically. In most games, the jump scares are a punishment (a controlled shock, if you will) -- if you play the game perfectly, you’ll never be jump-scared. This is an important design choice that a lot of other horror games don’t follow.

Atmospheric Dread: These games absolutely deliver horror and tension through every element of design -- some more than others, admittedly. But a combination of sound cues, the overall texture and aesthetic of the world, the “things move when you’re not looking at them” mechanic, all of it works together to create a feeling of unease and paranoia.

Paranoia: As in most survival horror games, you’re at a disadvantage. You can’t move or defend yourself, really -- all you can do is watch. And so watch you do. Except it’s a false sense of security, because flicking lights and checking cameras uses up precious resources, putting you at greater risk. So you have to balance your compulsive need to check, double-check, and make sure...with methodical resource conservation. The best way to survive these games is to remain calm and focused. It’s a brilliant design choice.

Visceral Horror: The monster design of the animatronics is absolutely delightful, and there’s a whole range of them to choose from. The sheer size and weight of the creatures, the way they move and position themselves, their grunginess, the deadness of their eyes, the quantity and prominence of their teeth. They are simultaneously adorable and horrifying.

Implicit Horror: One of the greatest strengths to FNAF as a franchise is that it never wears its story on its sleeve. Instead of outright telling you what’s going on, the story is delivered in bits and pieces that you have to put together yourself -- creating a puzzle for an engaged player to think about and theorize over and consider long after the game is done. But more than that, the nature of the horror itself is such that it becomes increasingly upsetting the more you think on it. The implications of what’s going on in the game world -- that there are decaying bodies tucked away inside mascots that continue to perform for children, that a man dressed in a costume is luring kids away into a private room to kill them, and so forth -- are the epitome of fridge horror.

The FNAF lore does admittedly start to become fairly ridiculous and convoluted as the franchise wears on. But even ret-conned material manages to be pretty interesting in its own right (and there is nothing in the world keeping you from playing the first four games, or even the first six, and pretending none of the rest exist).

Another thing I really appreciate about the FNAF franchise is that it’s quite funny, in a way that complements and underscores the horror rather than detracting from it. It’s something a lot of other properties utterly fail to do.

The Genius of Scott Cawthon’s Marketing

OK, so FNAF utilizes a multi-prong attack for creating horror and implements it well -- big deal. Why did it explode into a massive IP sensation when other indie horror games that are just as well-made barely made a blip on the radar?

Well! That’s where the real genius comes in. This game was built and marketed in a way to maximize its franchisability.

First, the story utilizes instantly identifiable, simple but effective character designs, and then generates more and more instantly identifiable unique characters with each iteration. Having a wealth of characters and clever, unique designs basically paves the way for merchandise and fan-works. (That they’re anthropomorphic animal designs also probably helped -- because that taps into the furry fandom as well without completely alienating non-furries).

Speaking of fan-work, Scott Cawthon has always been very supportive of fandom, only taking action when people would try to profit off knock-off games and that sort of thing -- basically bad-faith copies. But as far as I know he’s always been super chill with fan-created content, even going so far as to engage directly with the fandom. Which brings me to....

These games were practically designed for streaming, and he took care to deliver them into the hands of influential streamers. Because the games are heavy on jump-scares and scale in difficulty (even including extra-challenging modes after the core game is beaten) they are extremely fun to watch people play. They’re short enough to be easily finished over the duration of a long stream, and they’re episodic -- lending themselves perfectly to a YouTube Lets Play format. One Night = One Video, and now the streamer has weeks of content from your game (but viewers can jump in at any time without really missing much).

The games are kid-friendly but also genuinely frightening. Because the most disturbing parts of the game’s lore are hinted at rather than made explicit, younger players can easily engage with the game on a more basic surface level, and others can go as deep into the lore as they feel comfortable. There is no blood and gore and violence or even any explicitly stated death in the main game; all of the murder and death is portrayed obliquely by way of 8-bit mini games and tangential references. Making this game terrifying but accessible to youngsters, and then marketing it directly to younger viewers through popular streamers (and later, merchandising deals) is genius -- because it creates a very broad potential audience, and kids tend to spend 100% of their money (birthdays, allowances, etc.) and are most likely to tell their friends about this super scary game, etc. etc.

By creating a puzzle box of lore, and then interacting directly with the fandom -- dropping hints, trolling, essentially creating an ARG of his own lore through his website, in-game easter eggs, and tie-in materials -- Cawthon created a mystery for fandom to solve. And fans LOVE endlessly speculating over convoluted theories.

Cawthon released these games FAST. He dropped FNAF 2 within months of the first game’s release, and kept up a pace of 1-2 games a year ever since. This steady output ensured the games never dropped out of public consciousness -- and introducing new puzzle pieces for the lore-hungry fans to pore over helped keep the discussion going.

I think MatPat and The Game Theorists owe a tremendous amount of their own huge success to this game. I think Markiplier does, too, and other big streamers and YouTubers. It’s been fascinating watching the symbiotic relationship between these games and the people who make content about these games. Obviously that’s true for a lot of fandom -- but FNAF feels so special because it really did start so small. It’s a true rags-to-riches sleeper hit and luck absolutely played a role in its growth, but skill is a big part too.

Take-Aways For Creatives

I want to be very clear here: I do not think that every piece of media needs to be “IP,” franchisable, an extended universe, or a multimedia sensation. I think there is plenty to be said for creating art of all types, and sometimes that means a standalone story with a small audience.

But if you do want a chance at real break-out, run-away success and forging a media empire of your own, I think there are some take-aways to be learned from the success of FNAF:

Persistence. Scott Cawthon studied animation and game-design in the 1990s and released his first game in 2002. He released a bunch of stuff afterward. None of it stuck. It took 12 years to hit on the winning formula, and then another several years of incredibly hard work to push out more titles and stoke the fires before it really became a sensation. Wherever you’re at on your creative journey, don’t give up. You never know when your next thing will be The Thing that breaks you out.

If you want to sell a lot of something, you have to make it widely appealing to a bunch of people. This means keeping your concept simple to understand (”security guard wards off creepy killer animatronics at a pizza parlor”) and appealing to as wide a segment of the market as you can (ie, a horror story that appeals to both kids and adults). The more hyper-specific your audience, the harder it’s gonna be to find them and the fewer copies of your thing you’ll be selling.

Know your shit and put your best work out there. I think there’s an impulse to feel like “well, nobody reads this anyway, so why does it matter if it’s no good” (I certainly have fallen into that on multiple occasions) but that’s the wrong way to think about it. You never know when and where your break will come. Put your best work out there and keep on polishing your craft with better and better stuff because eventually one of those things you chuck out there is going to be The Thing.

Figure out where your target audience hangs out, and who influences them, and then get your thing in the hands of those influencers. Streaming and YouTube were the secret to FNAF’s success. Maybe yours will be BookTube, or Instagram, or a secret cabal of free librarians. I don’t know. But you should try your best to figure out who would like the thing that you’re making, and then figure out how to reach those people, and put all of your energy into that instead of shotgun-blasting your marketing all willy nilly.

You don’t have to put the whole story on the page. Audiences love puzzles. Fans love mysteries. You can actually leave a lot more unanswered than you think. There’s some value in keeping secrets and leaving things for others to fill in. Remember -- your art is only partly yours. The sandbox belongs to others to play in, too, and you have to let them do that.

If in doubt, appealing to furries never hurts.

Do I take all of this advice myself? Not by a long shot. But it’s definitely a lot to think about.

Now if you’ll excuse me, I have to go beat The Curse of Dreadbear.

#horror analysis #writing advice #fnaf

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veronicamarsconfessions · 3 years

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Editor’s Note: TV moves on, but we haven’t. In our feature series It Still Stings, we relive emotional TV moments that we just can’t get over. You know the ones, where months, years, or even decades later, it still provokes a reaction? We’re here for you. We rant because we love. Or, once loved. And obviously, when discussing finales in particular, there will be spoilers:

There was a time when Veronica Mars’ legacy was that of a beloved cult show that was canceled too soon by network executives who didn’t understand it. With the arrival of a crowd-funded feature film in 2014, its legacy evolved as one of the first shows to see the benefits of a revival. Now, it simply brings thoughts of sadness, rage, and betrayal.

When Hulu first announced it was reviving the series for an eight-episode fourth season, the news was met with resounding joy from a vocal and passionate fanbase that had never given up hope it would return after the crowd-funded feature film reunited Kristen Bell’s Veronica, a pint-sized private eye with a sharp mind and even sharper wit, with her one true love, the reformed bad boy Logan Echolls (Jason Dohring). But the fire that had burned for more than a decade and twice-revived the show was suddenly extinguished in a single, heartbreaking, and wholly unnecessary moment when Logan was killed by a bomb left in Veronica’s car shortly after the couple exchanged wedding vows.

I can still remember the shock I felt when I reached the end of the screeners Hulu sent. The whole thing felt kind of surreal, like if I didn’t acknowledge what had happened out loud maybe it didn’t actually happen. But it did happen. And I’m still filled with a fiery rage and a deep sadness when I think about it now, nearly two years removed from the episode in question, because needlessly killing Logan was a betrayal of the worst kind. The character’s untimely demise felt engineered for nothing more than shock value, like it existed only to leave Veronica even more isolated and cynical. But the interviews that series creator Rob Thomas gave in the aftermath, in which he tried to defend the decision, revealed something much worse while only driving the knife he’d stuck in fans’ backs deeper.

“In order for us to keep doing these, I think it needs to become a detective show—a noir, mystery, detective show—and those elements of teenage soap need to be behind us,” Thomas told TV Guide of the decision to kill Logan, noting that he also hoped to take Veronica out of Neptune and on the road in potential future seasons. “I sort of viewed these eight episodes as a bridge to what Veronica Mars might be moving forward.”

Instead of being a bridge to the future, it was a bridge to a grave of Thomas’ own making. Not since How I Met Your Mother ignored literal years of character development to deliver a half-cooked series finale the creators had come up with several years prior has a show felt so out of touch with its characters, the story it was telling, and its fans. Thomas’ decision to kill Logan is the perfect example of a creator being unable to recognize their own biases to the detriment of their creation.

He wrongly believed that Veronica needed to be hardened by years of nonstop torment and trauma in order to prove she was a great detective whose story was worth continuing. In putting her through the emotional wringer (again) after spending the entire season attempting to dig into her flaws and determine the root of her problems, Thomas swiftly undermined his heroine and her trauma with one misguided act of devastating violence. The fact that Thomas then chose to also skip over Veronica’s grieving process entirely reveals how little he ultimately thought of Logan or Veronica’s relationship with him, which had pushed her to be better and work through her longtime trust issues.

It is common knowledge by now that Logan was not intended to be Veronica’s love interest when the show debuted, but the fans took to the character more than they took to Teddy Dunn’s Duncan “He Used to Be My Boyfriend” Kane, so the latter was jettisoned from the show after Season 2. And in the end, Logan turned out to be a much better partner and match for Veronica’s personality. So what’s truly unfortunate about Thomas killing Logan, and killing him so violently, is that his thought process during Season 4 has the potential to color everything that happened in the show up until the moment the bomb went off. There is also the issue that Thomas apparently believed that Veronica achieving some level of romantic happiness was a one-way ticket to the grave, as if shows like Friday Night Lights hadn’t already soundly debunked the myth that happy couples did not make great TV.

Obviously an emotional family drama does not play by the same rules as noir, but Veronica Mars had already proven that you don’t need to play firmly within the sandbox of the genre to excel creatively. So why should the more adult version of the show attempt to put itself back in the box to be confined to something more traditional or stereotypical? Furthermore, love and contentment are not character flaws or weaknesses. They are not an element of “teenage soap,” as Thomas put it. In fact, one could argue that by allowing herself to believe that she and Logan could have a happy future together regardless of everything she’d witnessed in her line of work, Veronica had shown more personal and emotional growth in the show’s fourth season than she had in the entire run of the series.

At the heart of the matter, though, is one simple, glaring truth: Logan’s death was a fundamental misreading of the entire Veronica Mars fandom and what they liked about the show. Storytelling should never be dictated by the fans and their desires—one of the loudest and most common complaints critics had about the movie was that it felt too much like Thomas was just giving the fans what they wanted rather than attempting to tell a good story—but when your fandom has dug their hands into the cold soil of the TV graveyard to raise your show from the dead, you should probably have a grasp on what exactly the fans like about it in the first place. After all, they’re the reason you still exist and will be one of the final arbiters of whether or not you get to continue to exist in the future. And the idea that fans would somehow be interested in watching a version of Veronica Mars in which Veronica was on the road, completely alone, and Logan was blown to bits is just a wild miscalculation.

This isn’t to suggest Veronica Mars could not ever survive without Logan. That would be to undercut the rest of the show and the woman Veronica has become since we first saw her cutting Wallace (Percy Daggs III) off the flagpole in the series’ pilot. But there is a difference in writing Logan out of the show’s ongoing story arc—his secretive Naval career offered the perfect out—and violently killing him in an attempt to shock viewers and show just how resilient your heroine is in the face of trauma. A survivor of rape who had to solve the murder of her best friend (Amanda Seyfried) while still in high school because the sheriff’s department was too inept to do it (or simply did not care to do it), Veronica had already been through more in her young life than anyone should ever have to live through.

Although Logan’s death led to her finally seeing a therapist, it seemed to be a one-time thing, so nothing has really changed. Veronica is still the same person she was before the show returned, except now she’s also a widow and Thomas has alienated an entire fanbase to the point that many fans, though likely not all, have no interest in revisiting her story. And they’re not likely to either, since Hulu chose not to move forward with another season.

So much for that bridge to the future.

#Veronica Mars #Rob Thomas #Jason Dohring #Logan Echolls #VMars #season four #news #roast that bitch motherfuckers

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g-on-ef · 3 years

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Hey I was wondering if you're still a fan of Helluva Boss and what you thought of the latest episode?

@megashadowdragon asked: have you watched helluva boss episode 6 which came out today ( if you were unaware) what are your thoughts

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It warms my heart to know you guys ask for my opinion ^^ now let's get down to business

WARNING THIS REVIEW WILL BE A NEGATIVE ONE WIT A HINT OF POSITIVITY THESE ARE MY THOUGHTS AND OPINIONS ON THE EPISODE YOU DONT HAVE TO AGREE WIT THEM BUT DONT WASTE MY TIME WIT YOUR NEED TO ATTACK ME FOR HAVING THOUGHTS OF MY OWN YOU HAVE BEEN WARN

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To answer both questions yes I still watch Helluva Boss however after their latest episode I think I will just stick to writing fanfiction about Blitz and Striker as well as stick to whatever content the fandom creates.

This episode if Imma be honest with you guys was not worth the wait, hell I was literally tempted to leave the episode as it just didn’t have my attention as the others.

The episode had some decent moments where I was chuckling a little but other than that I wasn’t that into it, to be honest the bad out weigh the good.

Also I wanna add that a while ago I wrote how Vivzipop and her crew did not know how to handle complex characters or complex scenes and I was right, this show and their crew do not know how to handle mature topics without reducing them into a joke but we are getting ahead of ourselves so let’s start with the pros, the cons, and everything in between.

Let’s start of with the pros,

Loona knowing when Blitz was being serious was a nice touch, it showed that even if Loona acts like she doesn’t care about Blitz she actually pays attention to him and knows when he is being serious and when he is joking around.

Moxxie was the true MVP his interaction with the agents had me smiling as well enjoying his moments.

Blitz protecting Moxxie

STRIKER !!!! I am a simp for this imp and I’ll take whatever crumbs I can get to see him ^^

Verosika, Fitzorallia, love them, love them

And that’s it...to be honest that’s it...like other than that that’s basically all that I like from that episode...

Now let’s get into the rest of this episode...

Okay was anyone other than me confused as to why they decided now was a good time to introduce the agents so late in the game?

Like at this point I am convinced that Vivizie and her crew are just winging it.

The agents were literally thrown in the show and it felt outta the blue, like I said it feels like Vivizie and her crew don’t know what they are doing and are just throwing things together like they could’ve given us hints that the agents were watching them, or give us a hint that they were being spied on, it didn’t even have to be big it could have just been small.

An example would be from my favorite book series Cirque Du Freak, in the first book Mr. Crepsely (a main character in the book) mentions something small that will become huge in later books, it was small but allowed the reader to be curious it gave the reader that something big was coming and we should be prepared.

Like I said it was a small hint but I left me curious and wanting to read more to find out more about what is going on.

Helluva boss didn’t do that it just threw this new idea and new characters without giving the others to grow.

If they gave us a hint that they were being watched it wouldn’t have felt like that idea came outta nowhere.

Also was I the only one that was uncomfortable with the way Blitz kept making jokes about the agent’s dead mom? I’m sorry but that was just wrong on soooo many levels.

Also with the truth serum thing...why did they use it if they weren’t even gonna get answers like again this came outta nowhere because the truth serum was supposed to make them speak the truth not look like they were tripping on acid. On less I missed something please let me now if I did.

Also to be honest the whole confession thing was once again treated like a joke, especially when Blitz asked Moxxie why he let Millie peg him, ummm...an emotional scene like that shouldn’t have jokes of any kind surrounding it, especially when it was supposed to be a heartfull moment.

Now Blitz ... okay Blitz and his vision was a little decent but I also didn’t like it. A lot of people had their speculation especially with the Stolas scene but the more I look at it the more I see it as a bittersweet moment.

Revealing that he was afraid of intamacy wasn’t that big of a surprised since we already knew that like it was nice for conformation.

Okay now onto the Sto*itz moment in the song ... like I said this was bittersweet moment,

People interpet the scene as how Blitz is afraid to love Stolas others saw it as Blitz was still chained to Stolas and would only be free if he and Stolas talk it out and another mentioned how he was forever chained to Stolas and how toxic the relationship between the two is.

Honestly I viewed it as how Blitz will be forever trapped in situations like this were he is to afraid to love someone or love himself and unless he comes to terms with his own demons he’ll forever be trapped in an endless cycle of pain and misery.

Now onto why I think that that Vivizie and her crew can’t handle mature themes.

Two characters have just had a revelation about their relationship with one another and instead of being honest with each other it gets turned into a joke...again...

Moxxie told Blitz what he felt and Blitz told him he treats him like shit cause its tough love...da freak ??? You just had a moment where you realized you pushed everyone away because you were afraid to be alone so you rather push everyone away so you have an excuse to let them leave and instead of admitting to that you just tell Moxxie it was all tough love.

Not to mentioned that you’re giving compliments and than tell him your done because your out of compliments...again you had a huge revelation and instead of giving the characters time to digest what they went through you just toss it to the side.

Another thing that pissed me off was how right after a huge moment you throw in a fight scene...I...why...just why ???

You had an emotional scene (that had no build up) but than throw it to the side for a fight scene that shouldn’t have been added at all.

Like the minute Millie and Loona saved them they should’ve opened up a portal and take them away not waste time on fighting only for them to get caught in the end.

Like I literally feel like they wasted all that time on animation than on writing and planning what they wanted from this.

Like again they had an emotional connection/scene and threw it to the side for some fight scenes which was a disappointment because had Loona and Millie saved them and take them home Blitz could’ve had some major character development and the four of them could have a heartfelt scene admitting everything that bothers them and help them get closer.

Nope, they decided to just throw a fight scene why I don’t know but it bothers me how they just tossed an emotional scene for some action scenes.

So yeah I am not happy with how that was handle at all.

Let’s also get to the Loona and Millie scenes...Millie crying for Moxxie once again made no sense as we never seen Millie care for Moxxie, hell she cares more for Blitz than Moxxie which is fucked up.

Hell when Moxxie was being critizied by her parents she didn’t do much to defend him hell Sally Mae was more honest with him than Millie.

Honestly Millie feels like she is being written by twenty different people who don’t know what they want from her.

And Loona, Loona could seriously be written outta the episode and nothing would changed.

Also they truly refused to let their characters grow seriously Moxxie was still treated like shit by Blitz in the end so yeah no character growth at all.

And now onto the last scene with Stolas and Blitz ... holy shit man Imma be honest with you guys Stolas asking for sex after saving them feels fucked up, to me it felt like the only reasons he saved the imps is so that he doesn’t get in trouble and for Blitz to reward him for saving them.

Again they could’ve had Stolas saving them and they could have had a heart to heart moment nope we had to toss all that emotional build up (if one can call it that) and toss it to the side for cheap jokes and a horny owl.

needless to say I was beyond disappointed with this episode and with the way they handle the “saddest” scene in the episode I am scared to see how they will handle the other scenes.

AGAIN I honestly don’t see why this episode took so long and I feel like Vivzie and her crew are more focus on the animation than anything else which sucks because this show has so much potential and it is being thrown to the side for pretty designs and shipping moments.

Anywhore that’s my thought on this show let me know what you guys think ^^

~GoNEF out ^^

#answers asked #anonymous #Anon #megashadowdragon #helluva boss #helluva critical #anti stolas #anti stolitz

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monstersdownthepath · 3 years

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Demigod Dossier: Velstrac Demagogues, part 1

Pictured: Aroggus, the Abbey-Maker

Lawful Evil Mad Artists of the Shadow Plane

The Complete Book of the Damned, pg. 120~121 Additional information is also present in Adventure Path: Return of the Runelords: The City Outside of Time, pg. 74~79

Our second-ever Demigod Dossier, now fully in-swing! The Velstrac Demagogues are the rulers of the Shadow Plane and all the lives within, though many of said lives within aren’t really fans of them. Natives to the Netherworld find the presence of the Velstrac an annoyance at best and a threat to their lives at worst, and would much prefer if they went back to Hell where they came from, but unfortunately for everyone everywhere they don’t appear too eager to throw themselves into the jaws of the inferno just yet. Instead, they’re busy throwing themselves into the jaws of one another.

The Demagogues represent the pinnacle of a specific subset of the Velstrac’s twisted senses of ‘art’ and ‘perfection,’ either because they’ve mutilated themselves into something wholly unlike anything else that can, did, or could exist, or they’ve pioneered a form of artistry that other Velstrac couldn’t even conceptualize in the first place and gathered a fandom. It takes some very twisted, alien forms of thinking to become a Demagogue and get others rallied behind you, even moreso because the Velstrac themselves are, putting it kindly, completely out of their gourd. When your audience already expects the insane and outlandish, you have to go even further, and many of the fiends you’ll soon see have.

We’ll only be covering four in this initial post, with the rest to be saved for later...

Demagogues view mortals as little more than primal clay to be shaped, and thus see little worth in investing true divine power into them, worshipers receive Boons that are are relatively simple: a trio of spell-like abilities, each of which may be used 1/day. Boons are normally gained slowly, at levels 12, 16, and 20, however entering the Evangelist, Exalted, or Sentinel Prestige Classes can see the Boons gained as early as levels 10, 13, and 16. Note that while they are Lawful Evil fiends originally from Hell, they are not devils, thus you cannot enter the Diabolist Prestige Class to obtain their Boons without DM fiat.

Aroggus, the Abbey-Maker

Demagogue of Possibility, Revenge, and Sanctuary Domains: Evil, Law, Protection, Trickery Subdomains: Deception, Defense, Fear, Tyranny

Obedience: List the names of those who have wronged you until the writing covers a page, then consume the parchment. Benefit: Gain a +4 profane bonus on saving throws to resist compulsion effects.

What a completely normal, sane, and healthy thing to do! As the first of the Demagogues to flee from Hell, Aroggus is EXTREMELY angry at the devils for locking them up in the first place. Angry enough to want revenge on the whole of the diabolic race, as well as the Asura... Angry enough that he hasn’t yet even started getting around to enacting his revenge, instead just constantly thinking about and refining it as if no iteration of suffering is perfect enough to match his fury.

True to form, he wants you to ruminate in your anger rather than doing anything to enact your vengeance, blacking out a page with the names (or just one name) of all who’ve wronged you no matter how petty or insignificant the inconvenience they may have caused. Unfortunately, no two ways about it, you’re going to look insane (in the literal definition of the term) doing this every day, especially if you only have one or two people who’ve wronged you enough to get onto your list. Scrawling their name, front AND back, until the page is filled and then eating it is behavior that will raise eyebrows no matter who you’re adventuring with. Best to keep this one behind closed doors. Make sure you have a glass of activated charcoal after, because all of that ink day after day (unless you write with, I don’t know, berry juice or blood) is going to do amazingly terrible things to your constitution.

The benefit is good. Compulsions are typically Save-Or-Suck effects, so having more Save means less Suck for you later on. It’s useful at any point in your adventure, so I can’t say anything bad about it! My only wish is that it was a little stronger, since some other gods give +4 vs compulsion and charm effects.

Boon 1: Nondetection Boon 2: Forcecage Boon 3: Imprisonment

Nondectection is a good spell for those times when you need to sneak by diviners, hide magic items from scrutiny, avoid the gaze of a Paladin who’s a little too judicious with Detect Evil, or to add another layer of shroud over Invisibility and the like. It’s a spell that’s a pain to prepare every single day, but useful to have when you need it... but you only have one casting of it per day, so using it wisely is paramount. Ironically, it combines well with your own Divination to find out if you’ll even need it later. More often than not you won’t be using it at all except to idly ward yourself when going into town or diving into a dungeon.

Forcecage is a completely different animal, the offensive and defensive applications of the spell simply mind-blowing, to the point that keeping this to just one paragraph to save space is going to take some herculean effort on my part! So, the basics: Forcecage has two versions, both of which halt all movement through them: A 20ft square of force bars that allow spells, projectiles, and line-of-effect through, and a 10ft cube that blocks line-of-effect and all forms of magic and supernatural abilities. A Forcecage is effectively invincible (having Hardness 30 and 20hp/level) and impossible to move, so anyone trapped inside without the ability to teleport is likely to stay there for the spell’s duration. Also, to put it simply, shoving enemies in the cage is the main point, but if you cannot, a 10ft/20ft square is an enormous roadblock to stop up narrow passages with.

Which leaves Imprisonment, a portable hole you can shove all sorts of problems into, which will likely create new problems down the line if the target had anything you needed on them. I recommend knocking out a foe, stripping them of their valuables, and then shoving them into their baby jail for all eternity! With the Freedom spell being the only means to undo Imprisonment (even Wish and Miracle fail), you’ll have no actual way to undo the spell against any target you cast it on for one or two more levels, if at all (depending on the party composition). Make sure to use it only when the villain has no MacGuffins, or is a powerful recurring threat. Imprisonment works on anything and everything capable of failing the Will save (take note, anyone wanting to fight Kaiju, Great Old Ones, or Spawn of Rovagug), which gets a -4 penalty if you know the target’s name and some facts about its life, so famous villains are even more vulnerable to being thrown into the Eternity Marble!

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Barravoclair, Lady of the Final Gasp

Demagogue of the Elderly, Fatalistic Insights, Resurrection Domains: Death, Evil, Healing, Law Subdomains: Murder, Restoration, Resurrection, Undead

Obedience: Practice breath control, holding your breath until you nearly pass out. Benefit: Gain a +4 profane bonus on checks to resist drowning and on saves against inhaled poisons.

A hell of a step down in terms of unhealthiness in terms of Aroggus, and significantly less suspicious, too. Breath control is practiced by people of all stripes, from athletes to explorers to simple monks attempting more profound meditation. While ‘nearly passing out’ is skirting an edge most people won’t approach, it’s not exactly as dangerous for you as, say, inhaling water or eating poison every day. Without any materials needed, the Lady of the Final Gasp is one of the simplest and probably the single cheapest Obedience ritual one could ask for! There is a minor caveat in that races who can’t breathe can’t technically do this Obedience at all, but those aren’t the audience Barravoclair wants anyway.

Unfortunately, the benefit is as weak as the Obedience is easy to do. Drowning is unlikely to come up as a danger unless you’re physically dragged into the water by a monster (which means holding your breath likely isn’t an option anyway), and inhaled poisons are the least common poison type in the game. Against the odd Catoblepas or Green Dragon it will come in handy, but it’s protection from injury poison you really need, which the Lady of the Final Gasp doesn’t provide.

Boon 1: Speak With Dead Boon 2: Resurrection Boon 3: Soul Bind

Alright, let’s face it. Some days, you need Speak With Dead to keep the plot running smoothly. Whether your overzealous DPS kills everyone in the room, your Fireball-lobbing Sorcerer kills everyone in the room, or your summoner’s unchained beasts kill everyone in the room, chances are at some point in your career you’re going to save the party a lot of headaches by being able to pull answers from a corpse. Having Speak With Dead available every day will likely not matter 80% of the time (meaning you can typically use it at your leisure just before going to bed), but much like with Water Breathing and spells like Remove Curse and Neutralize Poison, having it for those 20% of times you need it can keep the wheels spinning and stop unneeded side quests.

... And speaking of side quests and things you’ll need once in a blue moon, Resurrection? For free? Even 1/day? With the hefty cost of 10,000gp for the normal spell, even a well-off party will feel the impact every single time they have to use Rez, but the removal of the cost ups the power level of the spell by a margin so enormous that it doesn’t really matter what Boon you get before or after this one; THIS boon rewards worship of Barravoclair enough to justify putting up with her empty benefit. Even without factoring in the ability to raise party members, you can now curry favor with people of all stripes and demand all forms of insane payments for your ability to raise centuries-old dead at no cost but time... or do your work for free and call in favors at a later date. Do note, however, that you’ll also need someone else on standby to remove the negative levels/stat drain caused by the resurrection process.

I said it didn’t matter what the third Boon was and I stand by it. Unlike with the free Rez above, Soul Bind’s enormous cost still makes its use as anything but a once-per-campaign finisher of an annoying enemy irritating and unfeasible. Spell-likes normally require no components, but Soul Bind operates in a gray area of the rules in that its focus component becomes the subject for the spell, meaning that a DM can very easily and very rightly say you DO require the gemstone whose value must equal or exceed the target’s HD x 1,000. Binding even a simple 5 CR creature requires the tall order of a 5,000gp gemstone, and if you want to use it on a target that’s worthwhile, it gets expensive fast. It’s way cheaper and easier to just hire a Cacodaemon.

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Fharaas, the Seer in Skin

Demagogue of Experience, Murder, and Patterns Domains: Evil, Knowledge, Law, Repose Subdomains: Ancestors, Fear, Memory, Souls

Obedience: Study the interior of a freshly severed limb. Benefit: You are immune to bleed effects that deal 6 damage or less.

This Obedience is deceptively simple for what its implication is. You’d best get yourself a Sack Of Rats or have access to a lot of disposable prisoners (or the Regenerate spell)! But thankfully, there’s some wiggle room in the wording: ‘freshly severed’ means no cheating and using Gentle Repose on the same arm over and over, but it ALSO means you can carry around a single corpse and slowly slice it apart, as the limbs themselves don’t have to be fresh, just freshly cut off for the purpose of the ritual. Also, you can use the bodies of Undead, Constructs, and any other creature that technically has severable limbs! Though Fharaas, the Seer In Skin, will likely punish you if your ritual doesn’t involve the examination of actual flesh.

You’re going to look really weird, is what I’m saying. At least if someone barges in on you, you can claim you’re inspecting them for something or other. Infection, signs of magic, etc, whatever you can come up with to blunt the blow. You can cover yourself moderately well by being a butcher or a hunter in your day job, as the severed limb doesn’t have to be human, or even sapient (hence why I suggest a Sack Of Rats), letting you freely slice up and examine your kills.

Bleed effects are fairly uncommon in the grand scheme of things but are also a pain in the neck to deal with in the middle of battle, so this giving a +4 bonus aga--wait, sorry, hold on no, this isn’t a bonus to saving throws? Or skill checks to heal bleed? It just... Stops them if they deal 6 or less damage? You don’t even have to make a save?

Okay. Okay, alright. So you’re just immune to bleed, then?

More or less, really. There are very few monsters that deal more than d6 bleed damage with their attacks (be warned that higher-level ones can sometimes stack their bleed!), and this ability also works on the rare but dreaded stat bleed, and off the top of my head there are NO monsters that deal more than a d4 dice in stat bleed damage. My main problem is that it doesn’t reduce the bleed damage you take by 6, so taking even 1 more point of bleed damage makes this ability useless. Still, though it’s fairly narrow, being effectively immune to a dangerous and irritating status ailment at level 3 or so (when bleed is at its most threatening) is well worth taking up butchery.

Boon 1: Keen Edge Boon 2: Vision Boon 3: Foresight

Keen Edge is a spell you absolutely want to slap onto any vaguely pirate-y or hoity-toity party member you may have, as cutlasses, rapiers, and scimitars all leap from a dangerous 18~20 critical range to a terrifying 15~20, meaning they threaten to critically strike 1 out of every 4 attacks instead of just once every other fight or so. With a duration of 10 min/level, the enchantment will likely last multiple fights even if you only have it 1/day, but unfortunately it refuses to stack with any crit-boosting enchantments or feats the wielder may already possess, lessening its usefulness as your adventure goes on and your martial party members pick up increasingly fancy gear and pad out their collection of feats. Still, it’s useful for when you get it, and will remain useful for several levels after.

Vision is a whole different beast, and a dangerous one at that. It operates as the Legend Lore spell but vastly accelerated, allowing you to scrape the public consciousness for any information it may have on a specific person, place, or thing. I’ve complained about the general niche uses of Legend Lore before, but Vision grants the information in a much shorter time (a single standard action) at the cost of a potential for failure and a slap of fatigue whether you succeed or not. I don’t like 1/days that do nothing on a failure, but since Vision is purely a downtime spell (unless you need to know the boss’ weakness or info on the Evil Doom Artifact right now immediately), it’s not as much of an impediment to lose out on whatever information it could give you. That being said, the DM will likely have ways for you to do whatever plot-relevant research you need anyway, so Vision is more of a way to speed up the process than anything.

Which leaves Foresight, a spell whose main benefit relies intensely on DM cooperation, as I’ve ranted about here. Mechanically it’s fairly unimpressive, but if the DM reads the spell carefully, they should realize it gives whoever you cast it on a 6-second glance into the future at all times. Whatever horrors befall the victim 6 seconds from now should spring into your mind before they happen, making you the best trap radar on the planet, and the spell’s warnings for the best ways to protect yourself will urge the DM to grant you information about the enemy’s capabilities you may never otherwise know... but what do you expect from 9th level magic? It SHOULD be filling you in with details you’d never figure out!

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Inkariax, the White Death

Demagogue of Preservation, Absolute Cold, and Solitude Domains: Evil, Law, Void, Water Subdomains: Fear, Ice, Isolation, Slavery

Obedience: Inventory your collection of hoarded knickknacks, reciting your unique name for each item as you do Benefit: Gain a +4 profane bonus on saving throws to resist effects that would petrify or paralyze you.

God, finally, someone normal. At worst you’ll look like someone with a few obsessive issues, but at least you won’t look like a menace to society as you lay out your, I dunno, marbles or bone dice or dolls or what have you and make note that they’re still there, cooing to them with names only you know. It’s fitting for Inkariax, of all the Demagogues, to have an Obedience that requires no self-harm, physically or psychologically; unlike all the rest, he was born perfect and doesn’t need to chase after it. Instead, he pursues finding perfection in others, freezing and collecting people and items he believes represent perfection in whatever unusual way he desires that day (having perfect posture, or a perfect scream, or a perfect pair of eyes, etc). Much like him, you’re encouraged to expand a collection of whatever you deem perfect and desirable, which you’re often going to do just over the course of normally adventuring. I’ve yet to see a player character that doesn’t start amassing all sorts of junk in their pockets the moment they get a Bag of Holding or similar.

Indeed, you can just pick up whatever catches your fancy, be it stones, sticks, or severed bits of an enemy, though I’m sure Inkariax will ever-so-slowly raise a disapproving eyebrow if you just pick up any old junk. Make sure to curate your collection now and then! Being able to perform this Obedience with anything you happen to gather is especially helpful if you’re ever separated from your collection (always a danger) and need to start again, but note that each item you gain in your collection must have a completely unique name. That’s only really a danger for especially RP-heavy campaigns, but in such campaigns Worship of the White Death isn’t for everyone who just names all their collected bird feathers Jeffery. Start getting in the habit of stretching out your inventory sheet with names for all your items!

The benefit you get from lovingly counting up all your stolen statuettes and dusty books is resistance to two of the worst status effects in the game. While petrification is relatively rare it typically appears in Save-Or-Suck form, which makes protection against it far more valuable than, say, protection against something like the far more common fatigue or exhaustion. Paralysis is an ailment just short of a death sentence by itself, costing the victim their turn at best and their life at worst, so even a +4 between you and that is something you need to cling to with your entire being.

Boon 1: Sleet Storm Boon 2: Sequester Boon 3: Microcosm

Sleet Storm is a very simple spell with a decent number of functions. Its Long range means that any enemy in your line of sight can potentially be a target, letting you lash out easily at ranged enemies or dangerous casters by creating a 40ft-wide and 20ft-tall area of concealing sleet that’s impossible for any vision to pierce (except the rare and niche Snowsight or Fogcutter Lenses). Anyone inside will have to rely on Tremorsense or Blindsense (though the jury’s out on if the splashing of the sleet would confound those, as well) to navigate it, and 40ft of difficult terrain can feel impossible to clamber through when you start right in the middle of it with no idea which way is the way you need to go. It’s one of the strongest vision-blockers in the game due to its immunity to common tactics that thwart lesser spells (Gust of Wind, True Seeing, etc), forcing enemies to either blow their valuable uses of Dispel Magic or suffer for its entire duration. My only complaint is that you only get it 1/day and that it screws over your party just as hard if you use it incorrectly.

Sequester is as niche a use spell as there ever was for players, requiring a bit of forethought about what or who you’d want to hide with it. The target must be willing or inanimate to be affected, so tricking an enemy via Charm or Dominate into accepting the spell can keep them fresh as a daisy for weeks at a time if you ever have a reason to do such a thing. More often than not you’ll use it to conceal items you seriously don’t want seen or detected, such as a Bag of Holding or similar loaded with your collection of knickknacks or emergency supplies, a particular hostage, an NPC you need to keep alive, or your phylactery if you’re a Lich. If you’re especially sadistic, using it on an item someone else needs and throwing it into a well or a hoard of other objects will keep them occupied for a while. If you’re a more martial character, using it to hide your armor is viable, making it seem as though you’re invincible when enemy blows bounce straight off, or even your weapon to confound your enemies who seem to be taking wounds from an unseen item. Your mime routine will be killer, literally! Just... Just don’t drop the thing, because in the heat of battle you’re never going to find it.

Microcosm is one of the best spells you can hurl into a crowd of commoners or a swarm of foes meant to gum you up instead of actually threaten you. Its 30 HD limit will mean it likely will only strike one or two creatures capable of actually threatening you, but it’s brutal even then. The spell is permanent, trapping your victims in an illusory world in which everything goes right for them even as their bodies starve to death in the waking world. Anything with less than 10 HD is automatically affected with no saving throw, the spell easily mopping up mobs, while anything with 11~15 HD escapes automatically after 10 min... per level you have. On a successful save. There’s Save-Or-Suck, and then there’s the immensely rare Save-And-Suck! No wonder Microcosm is ONLY on the Psychic’s list! Anything with more than 16 HD is unaffected if they succeed their save, but all their allies are likely in an everlasting dreamland now. The big issue is that the HD restriction is way tighter than you may think; creatures, especially at higher levels, usually do NOT have HD matching their CR, but if you’re mainly battling level-appropriate Humanoid or Monstrous Humanoid creatures, Microcosm is fairly reliable in such battles, as those foes typically have HD that roughly matches their CR. But if you’re up against, say, Dragons or Outsiders, good luck bud.

Side note: Microcosm and Sequester used in combination make for excellent ways to start your own morbid collection of living creatures, just like your icy master! Just make sure you have some non-Divination means of seeing them, as Sequester blocks even True Sight.

#Pathfinder #dungeons and dragons #Demigod Dossier #Spiritual Spotlight #Sinister Spotlight

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tarithenurse · 3 years

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Spark - 24

Fandom: Enn Enn no Shōbōtai / Fire Force. Pairing: Shinmon Benimaru x fem!reader. Content: Lack of proper terms for clothes (I think). Fluff. Feels. Lots of angst. A/N: Here ya go, darlings! Feel free to ASK (or reblog) for tag – in fact: always reblog. Thanks to those who have already <3

24. From the ashes

… Reader …

Something hard and jagged prevents you from resting. It’s digging into your thigh and what first was pure numbness is growing into an unyielding pain. Finally admitting defeat, you open your eyes to see what’s causing the offending sensation, but it’s forgotten the moment you notice the shimmery light.

At first, it seems to be far away and only the visible simple due to the magnitude. But then you blink. Woah. Funky. In reality, the glow is from a small beetle which seems oddly familiar about a hand from your nose.

And then everything comes roaring back, filling your brain with images that you wish only belonged in nightmares rather than memories. People, children and adults alike, swallowed by flames that twist their skulls and stretch their limbs; the echoing shrieks twisting from pain to despair to hunger. Somewhere in between it all, there’s an intermezzo where fire fills everything, blocking out any other sensation than fear.

A fear that’s still roiling in your guts and clawing its way up your throat until only a fraction of it lands on the beetle that’s waving its antennae towards you. It clicks as if offended (though more likely disgusted) and tries to free the legs one by one to get away.

If it escapes...

Benimaru (and others) have called you stubborn. You’ve learned not to give up because giving up meant allowing yourself to get caught and you weren’t naïve enough to think that the only punishment for that was to see your parents’ faces and sorrow over the little sister you had lost. No. It would’ve meant landing yourself in this exact situation – even if it was nothing but a fearful conspiracy at first.

Now, you know better and realize that the stubbornness has changed.

Now, you twist on the jagged ground, pulling yourself forward by hands and elbows to drag your leg free from a slab of concrete. The dead weight threatens to hold your hostage, squeezing onto your foot with cruel determination. It would be easy to give in to it – to lie down and claim the rest your body is screaming for – but the beetle is moving faster than you are, having spent the time wisely while you fought with gravity, mass, and your own mind.

It can’t be called a scream, the sound that begins deep in your chest and works its way up and out as the strain of muscles constrict around your lungs. You don’t feel the way the nails scrape and break against the sooty floor, just like the muted pop from a strained joint goes ignored save for the tears of relief the moment the ruins let go.

The thud of your palm slamming down doesn’t conceal the satisfying crunch of an exoskeleton being crushed. Shards of concrete dig into your skin and you’ve never welcomed them as much as now.

“Got you, fucker,” you swear, voice hoarse but seething with a new sensation: revenge.

One down. Time to find the rest.

... Joker ...

There’s no reason to talk. Not yet, at least. All the men can do for now is to search through the rubble methodically, each covering a half of the space ahead of them while pretending that the odds aren’t stacked against them. He must have realized. But even the lanky man doesn’t have it in him to give up yet, wishing instead to extend the blind hope for just a bit longer. She’s stronger than we give her credit for, but...

“[Y/N]!” Benimaru’s deep voice fills the darkness, briefly fooling his friend in need to think the search is over. “[Y/N]! [Y/N]!” the captain yells, a crackle of desperation breaking through.

Dust and small debris falls from the ceiling as if startled by the sound. It’s a miracle the place hasn’t caved in already and Joker’s about to shut up the normally quiet man when he hears it. Or...? No...it must’ve been an echo.

But then it’s there again: something more akin to a cough has come from the farthest side of the new cavern.

“-maru?”

As if they had planned it, the men each let lose a roaring blaze, licking against the uneven surface above and cast deep, jagged shadows that dance in the white-hot air. Dust is fanned by the invisible wave, split into streams as obstacles loom in the path only to be caught against nothing a few feet from a mess of a woman.

Arm raised as if holding a shield, [Y/N] is leaning against the remains of a wall. Apparently she’s just clambered over it, but how she has managed is a mystery. She’s barely standing! Swaying dangerously, blood seeping from the nose and countless cuts and scrapes, not even the dirt and bruises can hide the fact that the usual lustre of her skin is gone. The only parts of the woman that seems somewhat alive are her eyes glow with a deep crimson a few seconds longer before that too disappears with a blink.

Not a blink.

Benimaru moves faster than Joker can think, suddenly skidding to a halt right before the supposed damsel in distress, catching her effortlessly as her legs give out and she tumbles towards the ground.

... Benimaru ...

“I’ve got you,” he whispers.

It’s impossible to tell if [Y/N] has heard him, her body limp against the captain’s. There’s no time to worry about decency as Benimaru quickly inspects her for serious injuries – a task that’s all too easy, though, as the once-faded-now-flambéed jumpsuit has been torn to the extend that it barely can hold on to her frame. Finding nothing too obvious (health wise), Benimaru shrugs off the dark-blue kimono shirt to wrap around her.

“We’re gonna get you out of here.”

A slow groan precedes the answer. “Wh- not yet...” [Y/N] can barely keep her eyes open. “Imma k-ki-ick their...asses.”

It’s Joker’s startled laugh that breaks the silence, earning him a confused frown from the dazed woman until he explains. “There’s no one left here.”

“He’s right, [Y/N],” Benimaru agrees, suddenly reconsidering what might have caused all the destruction, “so let’s get you fit for fight before round two.” His entire world consists of this woman as she looks up at him with a tiny smile, asking if they’re going home. “Haï. Home to Konro and the twins. Home to Asakusa.”

“Just give...give me five minutes to rest,” she demands, eliciting a new laugh, “then I’ll be on my feet.”

Not with that leg, you won’t. “Will you let me carry you until you’re okay to walk?” It’s the closest he can get to arguing with her stubbornness right now. “It’d be good to get out of here before the whole thing collapses.”

The chagrin is obvious in her face although it’s softened by fatigue. “Fine.”

With a bit of help from Joker, [Y/N] gets settled for a piggyback ride, her chin resting on her would-have-been rescuer’s shoulder with a content sigh.

“For the record,” she mumbles as the last of her energy has been used, “you don’t have to knock me out this time.”

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killianmesmalls · 3 years

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On your comments about Jack: ye-es, in the sense that Jack is a character who definitely deserved better than he was treated by the characters. The way Dean especially treats him reflects very badly on Dean, no question. But, speaking as a viewer, I think the perspective needs to shift a little bit.

To me, Jack is Dawn from Buffy, or Scrappy Doo. He’s an (in my opinion) irritating kid who is introduced out of nowhere to be both super vulnerable and super OP, and the jeopardy is centered around him in a way that has nothing to do with his actual character or relationships. He’s mostly around to be cute and to solve or create problems — he never has any firm character arcs or goals of his own, nor any deeper purpose in the meta narrative. In this way, he’s a miss for SPN, which focuses heavily on conflicts as metaphors for real life.

Mary fits so much better in that framework, and introducing her as a developed, flawed person works really well with the narrative. It is easy for us to care about Mary, both as the dead perfect mother on the pedestal and as the flawed, human woman who could not live up to her sons’ expectations. That connection is built into the core of SPN, and was developed over years, even before she was a character. When she was added, she was given depth and nuance organically, and treated as a flawed, complex character rather than as a plot device or a contrivance. She was given a voice and independence, and became a powerful metaphor for developing new understandings of our parents in adulthood, as well as an interesting and well-rounded character. You care that she’s dead, not just because Sam and Dean are sad, but for the loss of her development and the potential she offered. So, in that sense, I think a lot of people were frustrated that she died essentially fridged for a second time, and especially in service of the arc of a weaker character.

And like, you’re right, no one can figure out if Jack is a toddler or a teenager. He’s both and he’s neither, because he’s never anything consistently and his character arc is always “whatever the plot needs it to be.” Every episode is different. Is he Dean’s sunny opportunity to be a parent and make up for his dad’s shitty parenting? Yes! Is he also Dean’s worst failure and a reminder that he has done many horrible things, including to “innocent” children? Yes! Is he Cas’s child? Yes! Is he Dean’s child? Yes! But also, no! Is he Sam’s child? Yes! Is he a lonely teenager who does terrible things? Yes! Is he a totally innocent little lamb who doesn’t get why what he is doing is wrong? Yes! Is he the most powerful being in the universe? Yes! Does he need everyone to take care of him? Yes! Is he just along for the ride? Yes! Is he responsible for his actions? Kinda??? Sometimes??? What is he???

Mary as a character is narratively cohesive and fleshed-out. Jack is a mishmash of confusing whatever’s that all add up to a frustrating plot device with no consistent traits to latch on to. Everything that fans like about him (cute outfits, gender play, well-developed parental bonds with the characters) is fanon. So, yes, the narrative prioritizes Mary. Many fans prioritize Mary, at least enough that Dean’s most heinous acts barely register. To the narrative (not to Cas, which is a totally different situation), Jack is only barely more of a character than Emma Winchester, who Sam killed without uproar seasons earlier. He’s been around longer, but he’s equally not really real.

I debated on responding to this because, to tell the truth, I think we fundamentally disagree on a number of subjects and, as they say, true insanity is arguing with anyone on the internet. However, you spent a lot of time on the above and I feel it's only fair to say my thoughts, even if I don't believe it will sway you any more than what you said changed my opinions.

I'm assuming this was in response to this post regarding how Jack's accidental killing of Mary was treated so severely by the brothers, particularly Dean, because it was Mary and, had it been a random character like the security guard in 13x06, it would have been treated far differently. However, then the argument becomes less about the reaction of the Winchester brothers to this incident and more the value of Jack or Mary to the audience.

I believe we need to first admit that both characters are inherently archetypes—Mary as the Madonna character initially then, later, as a metaphor for how imperfect and truly human our parents are compared to the idol we have as children, and Jack as the overpowered child who is a Jesus allegory by the end. Both have a function within the story to serve the Winchester brothers, through whose lens and with whose biases we are meant to view the show's events. We also need to admit that the writers didn't think more than a season ahead for either character, especially since it wasn't initially supposed to be Mary that came back at the end of season 11 but John, and they only wrote enough for Jack in season 13 to gauge whether or not the audience would want him to continue on or if he needed to be killed off by the end of the season. Now, I know we curate our own experiences online which leads to us being in our own fandom echo chambers, however it is important to note that the character was immediately successful enough with the general audience that, after his first episode or two, he was basically guaranteed a longer future on the show.

I have to admit, I’m not entirely sure why the perspective of how his character is processed by some audience members versus others has any bearing on the argument that he deserved to be treated better overall by the other characters especially when taking their own previous actions in mind. I’m not going to tell you that your opinion is wrong regarding your feelings for Jack. It’s your opinion and you’re entitled to it, it harms no one to have it and express it. My feelings on Jack are clearly very different from your own, but this is really just two different people who processed a fictional person in different ways. I personally believe he has a purpose in the Winchesters’ story, including Castiel’s, as he reflects certain aspects of all of them, gives them a way to explore their own histories through a different perspective, and changes the overall dynamic of Team Free Will from “soldiers in arms” to a family (Misha’s words). In the beginning he allows Sam to work through his past as the “freak” and powerful, dangerous boy wonder destined to bring hell on earth. With Dean, his presence lets Dean work through his issues with John and asks whether he will let history repeat itself or if he’ll work to break the cycle. Regarding Cas, in my opinion he helps the angel reach his “final form” of a father, member of a family, lover and protector of humanity, rebellious son, and the true show of free will.

From strictly the story, he has several arcs that work within themes explored in Supernatural, such as the argument of nature versus nurture, the question of what we’re willing to give up in order to protect something or someone else and how ends justify the means, and the struggle between feeling helpless and powerless versus the corruptive nature of having too much power and the dangerous lack of a moral compass. His goals are mentioned and on display throughout his stint on the show, ones that are truly relatable to some viewers: the strong desire to belong—the need for family and what you’ll do to find and keep it.

With Mary, we first need to establish whether the two versions of her were a writing flaw due to the constant change in who was dictating her story and her relationship to the boys, which goes against the idea that her characterization was cohesive and fleshed-out but, rather, put together when needed for convenience, or if they both exist because, as stated above, we are seeing the show primarily through the biased lens of the Winchester brothers and come to face facts about the true Mary as they do. Like I said in my previous post, I don’t dislike Mary and I don’t blame her for her death (either one). However, I do have a hard time seeing her as a more nuanced, fleshed-out character than Jack. True, a lot of her problems are more adult in nature considering she has to struggle with losing her sons’ formative years and meeting them as whole adults she knows almost nothing about, all because of a choice she made before they were born.

However, her personal struggles being more “mature” in nature (as they center primarily on parental battles) doesn’t necessarily mean her story has layers and Jack’s does not. They are entirely different but sometimes interconnected in a way that adds to both of their arcs, like Mary taking Jack on as an adoptive son which gives her the moments of parenting she lost with Sam and Dean, and Jack having Mary as a parental figure who understands and supports him gives him that sense of belonging he had just been struggling with to the point of running away while he is also given the chance to show “even monsters can do good”.

I’d also argue that Jack being many ages at once isn’t poor writing so much as a metaphor for how, even if you’re forced to grow up fast, that doesn’t mean you’re a fully equipped adult. I don’t want to speak for anyone else, but I believe Jack simultaneously taking a lot of responsibility and constantly trying to prove to others he’s useful while having childish moments is relatable to some who were forced to play an adult role at a young age. He proves a number of times that he doesn’t need everyone to take care of him, but he also has limited life experience and, as such, will make some mistakes while he’s also being a valuable member of the group. Jack constantly exists on a fine line in multiple respects. Some may see that as a writing flaw but it is who the character was conceived to be: the balance between nature or nurture, between good and evil, between savior and devil.

Now, I was also frustrated Mary was “fridged” for a second time. It really provided no other purpose than to give the brothers more man pain to further the plot along. However, this can exist while also acknowledging that the way it happened and the subsequent fallout for Jack was also unnecessary and a sign of blatant hypocrisy from Dean, primarily, and Sam.

And, yes, Jack can be different things at once because, I mean, can’t we all? If Mary can be both the perfect mother and the flawed, independent, distant parent, can’t Jack be the sweet kid who helps his father-figures process their own feelings on fatherhood while also being a lost young-adult forcing them to face their failures? Both characters contain multitudes because, I mean, we all do.

I can provide articles or posts on Jack’s characterization and popularity along with Mary’s if needed, but for now I think this is a long enough ramble on my thoughts and feelings. I’m happy to discuss more, my messenger is always open for (polite) discussion. Until then, I’m going to leave it at we maybe agree to disagree.

#long post #long ask #so long answer #guys it's 1 am #i hope this made sense #watch me read this after sleep and register things i wish i said #oh well #jack kline #mary winchester #spn #supernatural #spn critical #supernatural critical #kinda?#eh just in case #spn meta #supernatural meta #jack meta

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