#magic systems are hard but can give the story another aspect to feel even more alive

[importantdestinydefendor]

The Runes of Maar

Since @innerchorus had asked about more details of the rune system in Maar and I wanted to do a post about it, I have decided to, well, make a post about it lol.

Warning: long post

First, let me give you a general, alphabetic list of all the runes that are used in Maar.

Algiz - shielding

Ansuz - divinity, mental stability, communication and speech

Berkana - birch

Dagaz - new beginnings and transformation

Ehwaz - horse, transport

Eihwaz - death

Fehu - wealth, abundance, livestock and positivity

Gebo - gift, exchange and generosity

Haglaz - hailstorm, cleansing and destruction

Isa - ice, delay, self-control and frigidity

Inguz - home, news and fertility

Jera - harvest

Kenaz - torch, passion, inspiration and creativity

Lagaz - water, river, lake or renewal 

Mannaz - man

Naudit - need or distress

Othala - inheritance

Pertho - luck or fate

Raido - ride, wheel or journey

Sowilo - sun

Tiwaz - sacrifice, fairness, balance

Thurisaz - masculinity, courage and empowerment

Ur - valor, fortitude, strength and stability

Wunjo - joy, satisfaction, goodness and fellowship

All of them are used in the general day-to-day prayers and special rituals. Everyone of these runes represent a deity in the Maaren pantheon (I will probably do a seperate post about that as well). All citizens of Maar have a rune as a necklace around their neck that represents their tutelary god/goddess (for example: Azar's tutelary god is the god of war “Tiw” and her rune is tiwaz). At a certain age (probably around 11-15, sometimes earlier), children have to go through a ritual that lets them meet the gods of the pantheon and the gods decide which of them will be their protector and the one that should be represented by this child. They then get their rune-necklace and are allowed to choose if they want a permanent tattoo of their rune (or something else) or just the necklace. Some do as it is believed to amplify the effect/power of their rune. If you want to give somebody else the powers of your rune or the protection of your own tutelary god to somebody else, you hand them your necklace to wear and say a prayer to your god (no ritual needed, the prayer is enough). The necklace has to be worn at all times normally and if the original rune is not returned, a new ritual has to be made so the effect can be transferred to another rune stone. 

And these are the runes that actually have confirmed magical force (since Maar is a young country not everything is explored and/or researched to the fullest).

Ansuz - communication

Raido - teleportation

Kenaz - produces light

Haglaz - conjures up a Hailstorm

Isa - produces ice 

Ur - makes you physically or mentally stronger for a short time

Thurisaz - generates strong outbursts of power

Algiz - conjures up a shield/barrier for a short time

Ehwaz - summons a horse

Mannaz (or Eihwaz, have yet to decide) - summons the dead and gives them the ability to come back alive for a short time (only works if the dead person feels as if they still have something left unresolved in their life)

Lagaz - conjures up water/rain

healing rune pending

Everyone in the army and navy need to be able to use at least the basic runes to a certain extant aka. communication, teleportation, producing light (not complitelly sure about this one) and healing. They train from a very young age but everyone of all ages can be accepted (if your health is fine in older age you will also be accepted) into the army/navy.

On how the runes work:

I will not say too much here on how they generally work since in chapter 3 the soldier with the scar (Pavle) will explain it for me (could this be considered a spoiler?). 

But what I will talk about is how to multiply the effect or the strength of the effect. (I already made a comment about it under this post but I will just copy-paste it here again.) So if you want the effect to be stronger, you need more of the same rune stone. But one person can only use two to three stones at the same time so if you want to, for example, heal more than one wound in one go or conjure up an actual storm and not a cough of wind you need at least two to three or more people to do so. It depends on skill levels though (so squires and students are not allowed to do that without strict supervision) and only the priests/druids (name pending, suggestions welcome) are actually allowed to use that many or more at the same time since it takes a huge chunk of stamina and energy. Very dangerous in the midst of war and very easy to misuse and abuse for power (only in emergencies allowed for everyone). So Maar is very strict with who and how to use the runes with magic force. That's why they are mainly used for battles and only the teleportation rune is allowed to be used by a tiny selection of merchants (for example, merchants who sell merchandise lthat needs to be kept fresh, for example). That system is the only way so far to keep the abuse of the runes under control and is obviously not really fair. It currently is being researched more by a specific team directly monitored by the King and the highest priest/druid/whatever and new laws are being created, but not passed, left and right. 

Again, Maar is a young country and has to figure shit out on the go - it is probably in its early/mid teenage years, if you will. This issue will probably be resolved in a few thousand years, so my AU doesn’t really touch that much on it (probably will integrate the problem when we are in Gilan). But I love little tid-bits from outside the story that might never come up - it just makes the world feel even more alive and a little bit more real! 

Also: every rune has a small side effect, so that they are not that op, lol. One will be explained in chapter 4 by, again, Pavle.

So, I think that is what I generally wanted to tell about the runes without being too spoilery (if there even was anything to be spoiled lol). If there are any more questions: my inbox is looking very empty so feel free to spam me!

[theladyragnell]

i have my first ever dnd session next week and i’m. nervous-excited! any tips?

Oh, wonderful! I was about to demur and say I'm not an expert and take everything with a grain of salt, and then remembered I've been playing a game most weeks for most of the past decade and played two 1-20 campaigns and am now DMing another. So I guess maybe I do have some right to give advice?

Engage! Truly, this is the biggest piece of advice I can give you. You and your table are telling a story together, and it's a better story the more engaged people are. Be the kind of character who picks up plot threads the DM leaves dangling and chats with NPCs, be the kind of character who asks their party members about themselves, even if your charisma score isn't high. It doesn't take improv skills unless you're playing at a table that's recording a podcast or something, just a willingness to be curious, and it makes a huge difference.

Communicate. With your DM especially, but with your fellow players too. Let them know you're feeling nervous and might be a little shy but that you want to engage! If someone tries to engage you in roleplay, go for it and don't worry if you feel a little silly doing it. If you aren't having fun with an aspect of your character ("whoops, I should have taken a different rogue subclass") or the game ("heyyy, I didn't realize that killing wolves and elk would bother me so much, is there a plan to fight more magical monsters I'll feel less guilty about in the future?"), chat with your DM before it gets to be a bigger problem. And hopefully your table has chatted about triggers and systems to make sure you're all safe around that, a lot of tables do these days, but don't be shy about your needs.

Try to go with the tone presented! Hopefully your DM has told you what kind of game you're in, but a lot of table frictions can come when one player is playing Smeef Smeekle, jolly halfling weed dealer whose goal is to get into as much trouble as possible, and everyone else is playing A Team Of Heroes. Or, for that matter, when one person is playing Bluhdborne Pahth'ojenn, world's angstiest rogue, and everyone else is a fantasy k(obold)-pop band that fell into a dungeon (though comedy games do love a straight man, so that's mostly not fun for Bluhdborne).

Give kudos! When the DM or another player does something cool or creative, improvs a line that gives you chills, anything like that, let them know it! Either in the moment quickly, or after the session in some way. It can be a bit of an emotionally intense hobby, and it's nice to check in with your fellow players and tell them how awesome they are.

And last, some Common D&D Good Manners Things: in combat, have some idea of what your action is going to be before your turn comes around (some players make flowcharts, which I have never tried but might be your jam). Know your abilities as much as is realistic, and have descriptions of abilities and spells close to hand so your DM can ask you instead of looking them up. Take notes if you're playing longer than a one-shot, even if it's only a few words, both to keep yourself engaged and to give yourself the assist later when you need to remember whether this shopkeeper likes you or hates you.

Okay, that got very wordy! But really, just jump into the story, communicate with your table, and come at it with curiosity and collaboration, and it's hard to go wrong if your table is on the same page as you.

Enjoy!

[hopelesshawks]

Official Accounts Part 13- Confession

Summary: (y/n) was perfectly happy remaining anonymous, even if her best friends were all pro heroes and she worked under THE Hawks. Handling the technical aspects of hero work from the background suited her just fine, thank you very much. That goes out the window when suddenly her twitter blows up thanks Denki and the famed no. 2 hero is asking her to run his own official twitter as a result

If you don’t want to see Official Accounts content blacklist #hopelessoa

Masterlist

Hawks was not prepared for you to walk out of the employee bathrooms looking as good as you did when he finally returned to the agency to hand the reigns over to Endeavor for the night. He had really been hoping to wait to call in the favor Endeavor owed him for covering his patrols, but the more time Hawks spent with you the more he needed answers. It was growing harder and harder to deny the way looking at you made his heart race. The way part of him wanted nothing more than to make you laugh even when he was trying to ascertain what you were up to. And the way his heart stopped when you walked out of that employee bathroom, Mina quickly rushing out behind you and giving you a thumbs up and a wink before departing, only further confirmed that he desperately needed to know what your intentions were.

“Ready to go, Kid?” he asks as he extends an arm to you. “Ready,” you said as you exhaled shakily in hopes of clearing your nerves. You linked your arm in his and with all the charm you had come to expect from the number two hero he guided you out of the office and onto the busy streets of the city. You would die before admitting it, but looking at Hawks under the glow of the city lights made him look ethereal. So much so you could hardly pull your eyes away. The two of you were talking of that you were sure, and you assume you were giving intelligible responses, but in all honesty if asked to recount the conversation you wouldn’t be able to. You were too caught up in the wonder that Hawks had chosen you of all people.

Eventually the smell of food brings you back to Earth as you realize Hawks has brought you to a tiny hole in the wall restaurant on the other side of town. Hardly anyone else is inside, all the big crowds are deeper into the city, but something about the quiet atmosphere is refreshing after the noise of all the bustling crowds. “Hawks!” The owner calls out cheerfully as he makes his way around to the two of you. “Glad you finally made it. I’ve got a special table reserved for you out back,” the owner grins. “Ah you really do spoil me. Lead the way,” Hawks laughs as the owner does just that.

You’re guided to the back and out the door only to find an entirely separate seating area, deserted. Fairy lights provide the main source of light, giving the whole thing a dream-like quality. When the owner departs after seating the two of you, you and Hawks are left alone in the romantic atmosphere and you can’t help but feel nervous. Yet one look across the table at your date for the evening, especially when he flashes That Grin(tm) at you, eases your mind almost immediately.

The night feels nothing short of magical as the two of you laugh over drinks and the best ramen you’ve ever had in your life but as the food and alcohol settle in your stomach the conversation turns to deeper topics. “Can I ask you a potentially personal question?” Hawks asks. “Sure,” you shrug as you take another sip of your drink. “Is it weird having all your friends be pro heroes? You didn’t ever think about joining in yourself?” he asks. “You’re asking ‘cause of how I reacted to Chargebolt after that one patrol right?” you ask. He’s not. He asking to determine your possible motives. But he can’t say that, so instead he shoots you a sheepish grin and rubs the back of his neck as he lies “that obvious, huh?” “It’s a fair question and you’re not the first to ask,” you laugh. “It’s kind of a heavy story though, I don’t wanna bring down the mood,” you admit, looking away from the gorgeous, curious man across from you.

Suddenly you feel a gentle hand on your chin turning your head to make you look him in his eyes again. “You could never, Kid,” he assures you with as much faux sincerity as his brain can muster even if his heart is pleading with him to be genuine. You gulp and in that moment Hawks thinks he’s finally caught you.

“My mom was a pro hero. She didn’t break top 10 or anything but growing up she was Denki and I’s idol. I’m pretty sure she’s the reason he wanted to become a pro hero so bad in the first place. For a little while I wanted to be one too,” you begin. This was it. Hawks was sure of it. Any moment now you’d confirm your resentment that you never lived up to your mother and it would explain your rage and the training and your fascination with him and- “She uhm, she died in a villain attack when I was in middle school. Things just weren’t the same after that so I abandoned the idea of being a pro hero,” you confessed.

Oh...

Oh that was not what Hawks was expecting at all.

“When I found out Denki still wanted to be one I stopped talking to him for like a month. I forgave him eventually, obviously, but uh I refused to get back on the hero path. I knew too well the constant stress and pressure my mom was under and in the end all it did was encourage her to push too far and get herself killed. I know UA’s general studies course has a reputation of being for the hero course rejects but I only went to UA to keep an eye on Denki. If I couldn’t stop him from becoming a hero then at least I could make sure he didn’t push himself too far, y’know? Then I re-did the computer system and administration insisted I swap over to hero support. Eventually I realized that if it weren’t for my mom a lot more people would’ve died and while it sucks she had to make that sacrifice I know she’d do it again in a heartbeat. Even scarier Denki and Katsuki and Mina and Hitoshi and Eiji would all do it too. So while I can’t bring myself to become a pro hero myself, at the very least I can do my best to make sure the heroes get home safe.”

You’re not sure when exactly during your story you had begun crying but you swipe at your eyes to wipe the tears away now. You bring your gaze back to Hawks’ and open your mouth to apologize for ruining the mood but are instead surprised by the feeling of his lips on yours. There’s a split second of shock where you do nothing, but the moment it passes you return his kiss eagerly.

You are perfect. Every fiber of Hawks’ being screams that you are perfect. If anyone could possibly hope to understand him, his heart and his gut and now finally his head tell him it’s you. And with that realization comes an overwhelming amount of guilt. He had treated you like a villain when all you had done was be good to him and all those around you. He wants to apologize. God, how he wants to apologize. But that would require admitting he’d treated you with suspicion, that this “date” had been a ruse. So he says nothing, and he kisses you with passion and heartache and guilt and understanding and something that feels suspiciously like love. He kisses you with every single emotion that is coursing through him and hopes that will be enough.

Author’s Note: I feel like Hawks is the type who falls fast and hard once he lets himself fall. Writing this chapter was ROUGH. Hawks and (y/n) are in such wildly different places emotionally from start to finish. I’ve been trying to minimize the amount of written portions because it feels a bit like a betrayal of the smau format (and I like the challenge of restricting it) but there’s some stuff coming up down the line that just wouldn’t be discussed over text so there will probably be more soon. This was another monster chapter but we’re really getting into the thick of the story now so I’m not shocked

Taglist [open]: @cathy8taffy @katzurras @grumpyfroggies @captaincyberqueen @itskindofafairything @420-uwu

[meadow-roses]

aske time :) for the writing asks: A1, A2, A10, A12, A14, your choice of anything in B, C8 ( :^) ), C11, D6

A1: Introduce the characters from one of your current WIPs in one or two sentences each. 

Okay let's gooo,,, I'll do The Keepers cause I haven't talked about that one as much. These aren't gonna be the best descriptions but whatever 

Ketsler: Quirky, fun-loving, everyone's weird grandpa, but also the most powerful person to have ever lived. He's old- so very, very old- and he's seen so much over all the centuries he has been protecting the worlds from Chaos, but he still makes an effort to slow down and appreciate the little things around him, because he knows better than most how fleeting life is.

Skylar: Skylar is from a world where faerie circles are real and witches turn people into frogs and trolls live in great, big castles and are slain by talking cats, a world where there's too much adventure to stay in one place, too many people to meet, and too many monsters to slay to stop running. He may be only a human (ooo mystery!!) but he is proficient in Wind magic and carries around a good bit of rune stones he and his pet dragon have found along his adventures. 

Felix: Felix is just a normal human from a small town after the earth becomes united under one world power. He wasn't born with superpowers like most soldiers are, but he was still skilled enough to join a special force working behind enemy lines when the rebellion made its move to free the planet from the tyranny that built this dystopian reality. 

Betty: A very sweet young lady, she's from a planet that was colonized by humans centuries ago. She may seem naive, but Betty can read anyone like a book and uses her gift to help those who are lost find themselves again. 

There's more characters but I'll just stick with those main ones cause I really struggle with descriptions xD

A2: Who's your favorite character to write and why?

Probably Joden? I haven't written most of my characters, but I looove writing his dialogue. He also makes me think so I can keep him clever lol

A10: What’s your character development process like? (As in how you develop them, not necessarily their development in-story)

I roleplay them! The more developed they are, the more I've acted as them. It really gets me inside their head to try and think like how they think, and that results in me being more equipped to "discover" why they are like that. 

A12: What kind of internal conflict does your character go through (want versus need, personality complexes or strong personality flaws/”fatal flaw” kinda thing)? How does this affect them?

It really varies depending on the character? For example Joden has this need to always have a plan, always be in control, and a breaking moment for him comes in when he finally just,,, doesn't know what to do. He's in over his head and the only thing he can do is trust Jacer to do what he can- knowing Jacer doesn't have things under control. 

So that's an example of a flaw that the character gets to overcome, but there also characters whose flaws are part of who they are. Skylar wouldn't be Skylar if he weren't stubborn. Ketsler wouldn't be Ketsler if he weren't arrogant. They never grow out of these flaws, they just learn to control them. Or I guess not be controlled by the flaw. 

This is actually something I think I struggle with for my characters, giving them those visable flaws. I see other people's characters that start out "bad" and grow into heroes, but it kinda seems like all my characters start out as heroes. 😅 I mean, they have flaws, but in comparison to other people's characters they feel really bland in that aspect. Idk

A14: Ramble about your characters. Anything special you like about them? Random little details you’ve added that you enjoy? 

Uh,,, I don't even know where to start I just love all of them for so many various reasons. Joden is just a clever little genius but he still can be so naive. He just has simple pleasures and it's not hard to make him laugh or smile and practically impossible to discourage him. He starts off just,,, wanting his old life back and then he sees what the world is like outside his little bubble and the bubble pops. He sees the atrocities for what they are and to be able to settle down again, he has to fix it. He can't just smile and do as he's told, he can't let the bad guys win. It I just his mother and wife and son he's fighting for, it's the entire wood and the idea of being actually, truly, free.

Jacer is so savvy, he knows what to do and what to say to get into and out of any situation, but at the same time he's just clueless when it comes to genuine connection. He's a princeling who's really never had a friend and now he's saving the world with Joden who only knows how to make genuine connections. Why does he have to keep hugging me??  

And Twylla who's ready to fight anything so she can get her clever idiot husband back? 

Adric who's just doing his best to be a good leader but everything keeps going wrong. He wasn't born to be a king, he wasn't born to lead an army, he always had his big brother to help him do these things and he's gone- he's gone and he's not coming back he messed up again so bad and yet here he is with everyone looking to him for answers and he doesn't know what to tell them. But he's got his friends, and he's got a good heart, and he genuinely cares and they're going to figure it out.

Skylar just keeps running forward and he never looks back at the past he just jumps from one adventure to another stopping the monsters and saving the day. He's got Gigi what more does he need? 

Felix is just,,, he's just such a nice guy. Over and over he stepped into the gap because someone's gotta fly that fighter, someone's got to fire that gun, someone's got to stabilize the bomb, someone's going to lose their life to ensure the victory, why shouldn't it be him? But he never actually dies, somehow he always survives and lives to fight the next day, and the next day and the next day, and then they win the war- the world is free. And even though he's been through so much he still hasn't lost that kindness, that love for all life that makes him himself. He still falls in love and starts a family and has his own beloved children… and even when he loses them he still doesn't become cynical. He still stands in the gap and is the one to fire the gun, to hold the hand of the one who's mourning, to scoop up the orphan child and carry them home. He fights, so others don't have to. Father to the fatherless and hero for all. Also he puts up with Skylar's time traveling craziness lol

And Ketsler? Unlike everyone else he never chose to be a hero. What are you supposed to do when you're a four year old boy and everyone tells you you're the hero they've been waiting for, praying for, you have to save them. It wasn't at all his choice to be born with the power of the universe running through his veins. To hold the Inness in his hands and bend reality to his will. But he didn't run away. He never hid from his destiny. He took the world onto his shoulders and never set it down. Only once- and he's never going to do it again. Never going to ask someone to fill in his role for him, it is his burden to bear… Except not anymore. Despite being multi-millenniums old, all that time didn't dull his appreciation for the little things. A baby's smile, sunshine through the leaves, the change of the seasons. The union of two souls in marriage, or the colors of the sunset streaking a foreign sky. He still sees these things, loves these things, fights for these things. Cause it's the little things he's fighting for, not just the big things. The precious moments and precious lives that make up the worlds. One of his apprentices asked him once, he'd been fighting for so long, when was it going to end? It's not his job to strike the final blow, to end the suffering and bloodshed, just to help. He saves the world, so that he can save it again. 

I have… several more characters I'd love to ramble about but that answer's gotten pretty long so I'll cut it off there. XD

B3: Do you have any plot twists? No need to describe them, just think about what kind of reaction you want from your readers. 

Oh I was just talking to August about this the other day. XD There is one plot twist in the Keeper's story I'm reeaaally looking forward to hehe I want to make people confused and then really mad when the whole thing is stretched out. >:) 

C8: Does magic exist in your world? Who can use it? How does it work?

It really depends on which WIP, but in general I like to keep magic restricted with rules. Joden's story and the Keeper's story are in the same universe (along with ThRoG) and follows that magic system. It's too complicated to go in depth here, but "magic" exists in another plane of existence, and things in the material world have varying levels of connection with it. It's kinda the energy that holds all worlds together and sustains life. The magic realm- the Inness is not a place where physical matter should exist, only spirits can walk there. 

Wizards are creatures that stand with one foot in the physical realm and the other in the Inness. Tevlar is destroying the world basically by turning it inside out- pulling the Inness out.

C11: Have you developed historical figures? How do you develop them? How in-depth do you go?

Oh yes. I am a complete history nerd so if any world EXISTS it has history, and history only happens because people. 

Sometimes it's a thought through process of "somebody needs to go here" and sometimes it's an npc from a time travel rp that took on more importance than I originally intended. 

It really varies how in depth it will go? Sometimes it's just a name to fill a spot and other times it's like, man I could write a whole book about this guy!

One historical figure would be Ares of the Pegasus. He was a powerful warrior that won a bunch of wars and united the different pegasus clans under his leadership and became the first king. He's really famous and people like naming their kids after him in a kinda superstitious hope they'll grow into attributes of his character. Ares is the male form of the name, Aris is for girls. It's like, the most common Pegasian name. XD

D6: Are there any writing styles that inspire you?

Probably the first writing style I wanted to emulate was Tolkien's, but I also really liked Andrew Peterson's? Tolkien is so dramatic, and Peterson isn't heavy on location descriptions, so I'm kinda aiming for in between I guess. 

[sterling-silvers]

BURN THE WITCH, LIMITED SERIES: CHAPTER 1 Review - Kubo Attempts to Covet the Teaboo Audience

BURN THE WITCH, LIMITED SERIES: CHAPTER 1

Ultimately, I give it a very loving yet, nepotistic 7.5 out of 10.Burn the Witch came out three days ago; I read it yesterday. I’m still optimistically skeptical about this project Kubo is doing.

The best and most objective way, I feel, to describe this first chapter is that this is Bleach with a British, teaboo mod weaved into the source code. Granted, this inherently is not a bad thing because Kubo seems all but to make it clear that the society that is Reverse London is just sector of the encompassing Bleach universe; the Soul Society that we’ve seen in Bleach was the east section – now, we’re on the west side. If that is solely what Kubo wants to do, I’ll be a bit disappointed because I REALLY wanted him to show his growth from Bleach being cancelled, not just Bleach: Teaboo ReDux.

The differences that are there between Bleach and Burn the Witch are noteworthy but, a bit more underlying than I would like. The duo of Noel Niihashi and Ninny Spangcole works; a big problem of the Ichigo-Rukia relationship is that they were both too reactive as opposed to proactive (more so Ichigo than Rukia). 

Here, while Noel is reactive, she is balanced by Ninny who will jump into the fray and has clear ambitions from the start. That’s great – that is the growth I want more prominently shown. I would argue that reading the one-shot is a must because the story has already made a retcon in terms of a certain character plus, there is a parallel introduction to Ninny that they did once before with Noel. As a sidenote, let it be known that I love the tsundere more than the kuudere.

In addition, I do like that the aesthetic is definitive enough to differentiate from their Shinigami compatriots. Kubo has almost always had an eye for fashion and the red plaid cloths over the green coat really sets you in the scene that we are in a modern London with a witches and wizards. Granted, this just goes back to the “mod mentality” - instead of Shinigami, there are witches and wizards; instead of Hollows/Menos Grande, there are dragons. I wonder what the Quincy and or Espada equivalent will be (if we get to that point).

Now, to a more pressing matter: Burn the Witch has WAY too many significant parallelisms to Bleach in terms of the the story and the tropes; it is blatant that Kubo has re-adapted many past storylines and Kubo-isms, into this story. I’m disappointed that he doesn’t have a more solid magic system; the Hado of Bleach needed more hard rules and this “new” system does as well. 

It also doesn’t help that nigh every character can be seen as just an amalgam of previous characters from Bleach (for example: Ninny = Hiyori Sarugaki + Riruka Dokugamine; Noel = Byakuya Kuchiki + Nemu Kurotsuchi; Balgo = Keigo Asano + Orihime Inoue). Granted, I will give Kubo points if he makes an amalgam of Gin Ichimaru and Toshiro Hitsugaya (DO IT KUBO!!!!! You already have the perfect model to do so!!!).

Moreover, the initial story seems to be SAME set up as the first two arcs of Bleach. Stop me if you heard this before: A person that did a thing that weren't supposed to is scheduled for execution by the higher ups and (more than likely) the protagonist(s) is going to defy the system and impede the execution. I’m not even trying to be facile with the description, that is LITERALLY what seems to be happening. I’m also not too keen on the idea that we have another multifaceted organization with multiple members; too many characters with not enough development was a major aspect of Bleach’s downfall before - I stand by that the Vizards were an unnecessary and detrimental misstep of Kubo’s overall narrative. Kubo works better with a more air tight setting – when he tries to spread out the world becomes hollow… 

For a better comparison, had this been something like RWBY - which was “new” and still trying to get its bearings - this would have been fantastic set up: the world is there, the characters are established enough, and the power system is teased. However, this is NOT like RWBY - this is NOT Kubo’s first rodeo and ideally, he should know better and do better in terms of his story lore, character development, and setting. If anything, it should be more like Black Clover, particularly when it comes to the implementation of more English mythological lore.

With that, it is based on the totality of all these circumstances that I give BURN THE WITCH, LIMITED SERIES: CHAPTER 1 and very enthusiastic, yet nostalgic, 7.5 out of 10. I’m glad Kubo is back but, I want to see how he’s grown and so far, it seems that he is keen on playing his hits – and not necessarily the greatest ones.

[duckprintspress]

I'm confused about the scoring system. It was said on the website that people were scored (numerically) and yet someone with much higher scores than I got didn't get accepted nor was offered the mentoring/beta/get to know discord.

I can't help but feel there is an error here. Is there a way to explain this?

Hi anon!

So there are a few things going on here, and I’ll try to explain them all.

Thing the First:

The scores on the rubrics are raw scores. Once we really got down-and-dirty with rating things, and I did some data analysis, I discovered that some of our raters were being a bit more generous than others. By the time we were done with all the scoring, there was nearly a 2 point split between the most generous and least generous scorer, on average. This was clearly a fairness issue - if one writer got our three most generous raters, and a second writer got our three least generous raters, even if they submitted identical stories, the second writer would get a lower rating. Rather than leave things like that, I did some research on statistical models that would standardize our ratings.

Basically, with the help of an excel algorithm (the “STANDARDIZE” function), we calculated the average that each rater gave, and that rater’s deviation from the mean (standard deviation), and plugged that in to convert their ratings from the 0 to 20 scale to a different, standard scale - which ran roughly from -2.5 to positive 2.5. What the standardization really did was - for each rater, whatever score they personally gave on average was 0 (so, if rater one’s average score was a 15...that was standardized to zero. And if rater two’s average score was 10...that was also standardized to zero. So now instead of comparing apples to oranges, we were comparing apples to apples). Then, if they rated a fic 1 standard deviation above or below their average, that became a 1 or a -1. If they rated it 2 standard deviations above or below their average, that became a 2 or a -2. And so on. This ensured that all of the stories were rated on the same scale and everyone was treated equally - standardization of test scores erased the differences caused by some people rating more strictly.

So, if you and your friends are comparing rubrics (which you’re welcome to do!) and you noticed that some of you did better, numerically, but had different outcomes, that’s likely a factor - one of you may have had more generous or more strict readers.

(Here’s some more information on how Standardization, here’s the very basics...there are other forms of standardizing, such as fitting folks to a bell curve, or curving the entire score, but those were not suited to our needs)

Thing the Second:

The top 20 authors, statistically adjusted for fairness, were invited to contribute to Add Magic to Taste. As it turned out, these top 20 DID roughly correlate to our top 20 by raw scores; comparing the two rankings, there are only two people out of the top 20 who wouldn’t have made it based on raw scores but did when their scores were adjusted to be standardized against the same scale.

The next 20 authors (ranked 21 to 40, when statistically adjusted for fairness) were also invited to Discord, and we’ve also invited them to potentially be involved in a second anthology. Depending on how many of them say yes, we may be able to open that opportunity up a bit more, but we’re not sure yet. Two of these people, by raw score, would have made the top 20, and three of these people, by raw score, would not have made the top 40. However, again, when we standardized the data to reflect the differences in rater strictness, these were the results.

That leaves another 62 people, who had various ratings all below those top 40. Some of them had a raw score fairly similar to their standardized score...and some of them didn’t. For example - my wife was an applicant to this, and she gave me permission to use her numbers for this example. By raw average? My wife came in 49th. However, one of her raters was someone who USUALLY rated very high, and gave hers a (relatively, compared to that person’s usual hig haverage) low score - when that was adjusted statistically, it caused my wife’s fic to plummet to 64th, because even though the raw number itself wasn’t bad, it was statistically well outside the norm for that rater. So, believe me when I say - these standardizations can make a big difference. If you, or anyone reading this, would like, I’m willing to send you what your standardized scores were (while still maintaining reviewer anonymity). I was originally thinking of adding them to the rubrics but doing so would have been a lot of work, and so I passed - next time we do this, they’ll probably be on there.

Thing the Third:

Often, what separated a fic that succeeded from a fic that didn’t was the range of raters scores. For example, the fic that ended up with the highest rating (by both calculations) wasn’t anyone’s favorite fic - but all three readers thought it was solid, and that was enough. My personal favorite fic? Didn’t even hit the Top 20. What often happened was -

Top fics: either all three people liked it pretty well, or one to two people adored it and the other person or people liked it well enough.

Second tier fics: either all three people thought it was okay, or one person loved it and two people were fairly meh about it.

Middle-range fics: either all three people thought it was average, or one person loved it and two people didn’t like it, or two people thought it was pretty good but one person hated it.

Lower quartile fics: either all three people didn’t think the fic was “up to snuff,” or one or two readers really hated it while a third thought it was average.

This isn’t universal, of course - but a fic that had one really high rating could easily do worse than a fic that had three so-so ratings, because...that’s how averages work. And that’s also why we had three readers for each - to try to even out some of the differences that would arise if someone had an extreme reaction to a fic that others didn’t. Obviously, it’s not a flawless system - no system was flawless - but with the resources and manpower we had, we thought this was a fair way to handle things, and we truly did our best. As soon as we broke 20 applications, we were never going to be able to accept everyone, and so we strived to create a transparent system that treated all of our applicants equally.

Thing the Fourth:

Now, in addition to the “why might scores be higher/lower” aspect of your question, there’s the aspect of “getting the Discord invite.” Now, the top 40 folks got Discord invites automatically, and those offers were based solely on the rating they received.

The other Discord invites that we sent out were not based on ratings alone! Just like we had a “reader subjective feelings” category on the rubric, when we’d finished rating all the stories, we were left with a conundrum - all of us had fics we liked that didn’t make the top 40. Maybe it was that “one person love it and two people didn’t like it” permutations. Maybe it was that all of us thought it was “good” but not “great.” Maybe some aspect of the story caught our eye. Based on our reactions, and the fics we saw that we wished had made it, we selected people to get invites. Those Discord invites were sent out based solely on subjective criteria.

Yes, we worried about doing this. Yes, we went back and forth about doing it at all. But in the end, what we decided was - we didn’t want to give Discord invites to everyone, because there were plenty of people we didn’t think their writing was quite ready yet - mentoring is an intensive prospect, and one for which we won’t get paid up front and might possibly never get paid, and while this all looks wonderful from the outside please do remember that we’re running a business - one that I’ve been working my ass off on for more than four months and have yet to earn enough to draw a single paycheck. So inviting everyone was never in the cards. And on the other hand, if we chose to give invites to no one, that would mean potentially having some people that caught our eye “slip through the cracks.” What if they got too discouraged to reapply? What if we missed the chance to work with them, after they’d impressed us?

To use an analogy - we saw something in everyone who applied, but in some it was “this is an uncut diamond, and we aren’t in the position to take it from raw to finished,” and in others it was, “this is a diamond with a crack, or a flaw, or a rough spot...and we think if we put in the work, we can get it to perfection.” And our verdict on the uncut diamonds isn’t, “this is uncut and it will never be cut,” it’s, “all of these diamonds have spent years honing themselves and working hard to strive for flawlessness, and but some are clearly farther along that journey than others. Once these uncut diamonds have shaped more of their rough edges themselves, we hope they’ll come back when they are ALSO only one flaw from perfection, and work with us then!”

There was no way for us to win, and there was also no fair way to distribute invites based solely on the raw scores, or even based solely on standardized scores, because some of the scores were sometimes not reflective our actual opinions of the writing. For example - if someone wrote a grammatically perfect story, with a compelling use of language, but the plot and characters were inaccessible to us because it required fandom knowledge we didn’t have, that might have scored very poorly, but we have every reason to think that if they’d chosen a different work that was more accessible they’d have done much better. Or, as another example - if someone’s writing was really sloppy, because of a lack of editing or possibly because English isn’t their native language - but they have a skill for creating characters, or setting a scene, or had excellent pacing - then again, they could have ended up with a score that didn’t reflect the actual potential that we saw in their work - using our judgement and expertise.

So, flat out - yes, there are inequalities in how the Discord invites were distributed to the 62 people who didn’t make the cut for either anthology. And yes, we agonized over whether to give them out at all. And no, I won’t swear that we always made the right choices - we were going by the one story submitted to us, and we had to use our best judgement based on what we were presented - what each applicant chose to submit. In the end, we invited the people who - regardless of their score - we personally thought were the closest to being sellable - in the sense of, “probably only missing one piece that would help with to get them from ‘didn’t make it’ to ‘now we’re talking.” And I truly, truly wish that we could have everyone. But if we spend all our time mentoring people, then we won’t have time for doing any of the other aspects of this business. We are not a writing school. We are a book publisher. This ISN’T just fandom, and I DO have to think about what is sellable and what isn’t, because in the end...I’m trying to make money, and pay my staff, and give our authors the highest royalties possible, and, and, and.

As a further note on this topic? We are still issuing new Discord invites, based on e-mail conversations we’re having with people. Several people who didn’t initially get those invites? Have now gotten them. It just depends on how people are responding to us, and the conversations we’re having, and lots of other factors.

And, as I tried to say in the post I put up earlier today about notifications: even the people who didn’t get invites have potential. Every single writer who applied has potential. All of you, even if you struggled with multiple areas, had some aspect in which you shined. In a perfect world, we would help you all. But this isn’t a perfect world, and I don’t have the hours in the day to bring up the people who aren’t already close, and I’m sorry about that. So, please, please - if you didn’t make it, don’t be discouraged, and don’t give up. You’re the only one who can tell your stories - if you don’t do it, no one else will. Find fandom friends who will give you honest critique. Learn to read your own writing with a critical eye. Track down stories that really speak to you, and read them like a writer - to see how the original writer put them together, and deliberately emulate what you thought worked. There are many, many ways to improve writing craft, and if ya’ll want to be published, either with us or with anyone, we strongly encourage you to examine whichever ones appeal to you and work for you.

There’s isn’t a single person who applied who couldn’t, one day, be published by Duck Prints Press.

We were never going to make everyone happy, however much we hate making people sad.

We did our best to make as many people as possible happy, while also doing what we feel to be best for Duck Prints Press.

If we hurt you - we’re sorry. We said in the application process that we’d be giving honest feedback, and we’ve never made a secret of the fact that this is a business and our goal is to publish books that sell - nor did we pretend that we’d be able to take more than 20, but we were so impressed by the quality of what we received that we did everything we could think of to open the doors to more folks, while still maintaining the core integrity of our business model. That means we have to narrow the pool; we can’t just take everyone, especially now, when we’re so small and new. Our desire to take as many people as possible is why anyone who wasn’t in the top 20 got an invite, and why we planned an entire second anthology on the fly, instead of no one below the top 20 getting anything except a rejection letter.

Now, as a final thing - it IS possible we made a mistake. We’ve spotted one big one already, and we’re working with that author to rectify the situation. If you truly believe we made a mistake, please e-mail us, and we can look into it. Our email is info @ duckprintspress dot com.

Sorry this got long - but I figured, if one person wondered this, others too, and as we have since day one - our goal is to be transparent, and so I thought it better to answer more thoroughly rather than less.

[davids-cartoon-corkboard]

Do you think that if Shredder!Raph will occur in rottmnt, the aftermath might result in Raph inheriting some of Shredder’s rage even after saved? Maybe that is how the crew is going to implement Raph’s trademark temper throughout previous generations and maybe even make him have to step down due to it, making Leo the new leader?

Short answer: “Inheriting the rage of a centuries-old demon" is a dope-ass idea, so if you’re a writer I would definitely encourage you to use that in your own stuff. But I think that if Raph’s temper worsens throughout the show, it should be because of his own character development and not a magical effect. However, a Shredder!Raph scenario could contribute to said worsening temper by inflicting emotional/psychological damage instead. :)

Long answer ahoy!

Looking at “Many Unhappy Returns” from the Shredder’s perspective makes it very clear why he does what he does. Like, he’s been dead for five hundred years, and then something went wrong with his resurrection. He’s waking up with no idea where he is or what’s going on and oh shit those guys are pointing weapons at him, that’s a threat!

Note that he doesn’t even bolt for them immediately, he does a warning stomp and screech (back off!) before starting to approach.

Those other guys are yelling, that’s also a threat,

and they’re closer so he’s gonna attack them first, actually. (None of the Foot wind up even comically injured, suggesting that flailing them around was an intimidation tactic rather than genuine Murderous Intent.)

And then the first group attacks, so of course he’s going to retaliate.

And then suddenly he’s somewhere else, with other threats (the animatronics), and then the first group that attacked him is back, so he’s gonna fight them again.

And these jerks just keep following him? He’s not going to ignore that. And WOW that’s a lot of bright lights and loud noises, which are also threats, what the fuck is going on?!

And then this tiny human girl chucks a giant metal box at him, holy SHIT?! Sure, the Shredder is a dangerous antagonist, but at this point I wouldn’t call him a “bad guy”, he’s literally just responding to what’s happening to him.

In summary, the Shredder was stressed tf out because he didn’t know where he was or what was happening, he retaliated against perceived threats, and quite possibly wouldn’t have attacked the turtles in the first place if they hadn’t just rushed in without understanding the situation.

Gosh, doesn’t that sound familiar?

So yeah, I’m waiting for Rise to give us that good good Shredder!Raph content.

As for the possibility of Leo taking over afterwards... no, but also yes, sort of? On the one hand, we know that Leo does have leadership capabilities, and it would be a waste for the narrative to not explore that. On the other hand, Rise has broken from the status quo in many ways, and it would also be a waste for the show to do a complete 180 and return to Leo Being The Leader™.

Consider how the “leader” role has influenced Leo in past iterations: his perfectionism wears on him and his brothers, any failure tanks his self-esteem, he feels isolated from the rest due to taking on such a large share of responsibility, being an authority figure grinds everyone’s gears, etc. It’s just bad for his mental health.

No doubt all this responsibility will also wear on Rise!Raph as the story progresses and the stakes get higher. It will be bad for him as well. But if Raph steps down, Leo will once again suffer from the weight of this role. So if neither option is quite correct, if neither brother can shoulder the burden of leadership alone, then the solution is just... for neither of them to shoulder the burden of leadership alone. Sure, Raph will probably remain leader in title and in spirit, but Leo taking on a sort of “deputy” role makes sense from a strategic standpoint, and would be good for his character development.

Here’s how I think it could go down:

The Shredder!Raph scenario will be different from the Shredder!Draxum scenario. The Shredder was starved for mystic energy the first time around, so he immediately chewed Draxum up and spit him out. But Raph could be compared more to a battery than a meal; it will take a while for the Shredder to drain him. And at this point the Shredder could be back in “evil samurai” mode, and thus will understand the value of holding Raph hostage.

Y’all who have followed my blog for a bit know about my “Raph is a system” theory; that when he was little, he got separated from his family and pursued by some cryptid hunter. This trauma formed Savage Raph, who is able to handle “being lost/alone/threatened” when Host Raph cannot. “Pizza Puffs” didn’t give us a lot of info about who I’m calling “Red Raph”, but he made his presence known when Host Raph was sort of... "emotionally alone”? In that his brothers were dying a little bit and too stoned to care.

So if Raph is trapped inside a living cage, scared and helpless and hurt and exhausted, his family unable to help him... he’s not going to be able to handle it.

Or, rather, Host Raph isn’t going to be able to handle it.

These two can, though.

I’m imagining a scene in the mindscape where the Shredder says something like “Your pathetic family cannot bear to strike you down, and so there is nothing that can stand in m- wait, why are there three of you OW FUCK-” Red and Savage will mentally kick his ass long enough for the other turtles to rip off a chunk of the armor so Leo can portal it into another dimension or something. Shredder gets K.O.’d since he’s not whole anymore, and the battle is won.

Since the armor didn’t drain Raph as severely as it did Draxum, he won’t become as weak as Draxum did. However, it will still take him some time to recover. Raph trusts Leo in serious moments as of “Many Unhappy Returns”, and he already took charge when Raph wasn’t available back in “Man vs. Sewer”. So Raph will be like, “Hey Leo, can you handle the Mad Dogs for a bit? Just long enough for me to get back on my feet.” And Leo will be like, “Sure bro, I’ve got this.”

He does not, in fact, “got this”. Leo’s ego has caused trouble before (”Shell in a Cell”, “Minotaur Maze”), and being in charge will no doubt go to his head. This has the potential for both comedy and seriousness, leading to wacky mishaps and genuine danger. Being the leader is hard work and it’s not always fun, but someone has to do it and Leo will have to put the others before himself for it to get done. Once Leo realizes this, he could bond with Raph by asking for his advice on leadership. Sometimes Leo will follow the advice and sometimes he won’t, sometimes that will work out and sometimes it won’t, laying the foundation for the idea that there are situations where it will be better for one or the other to lead, rather than having one lead all the time. But that will only happen for a few episodes, because Raph will heal quickly and he’ll be the leader again and everything will be fine!

Everything will not, in fact, be fine. Raph is the strongest in the family, the tank, the one who can take a hit so the smaller ones don’t have to... the idea of being hurt, of being weak, scares him because his family is also in danger if he’s unwell. So I don’t think he’ll acknowledge to anyone, not even himself, that getting possessed hurt him emotionally as well as physically. And when a wound isn’t acknowledged, it doesn’t get tended to, and when a wound isn’t tended to, it gets worse.

That he’s a system will add another layer of complexity to this. The Shredder!Raph incident would make all the alters aware of each other via mindscape shenanigans, but it would also leave them with the fear of not being in control, so I think they’ll come in conflict with each other for a bit. They’ll argue with themselves, switch, and lose time more often, enough that it impedes their ability to function and the other characters start to notice something is wrong.

Host Raph will convince himself that Everything Is Fine and try to get things “back to normal”, which probably means he’s just straight-up not going to acknowledge that he's a system. He’ll rationalize that he’s always “gotten weird” from time to time, so it’s nothing to think too hard about... right?

Savage Raph will be on high alert because they just survived a near-death (a near soul-destroying) experience. He’ll probably take the front and go overboard fighting some villains that Host Raph could have ordinarily fought on his own. It might also take a while to convince Savage Raph that these “sewer monsters” who keep following him around really don’t mean him any harm.

Red Raph will get snappy (pardon the pun) about the more social aspect of “not being in control”; that Host Raph asked Leo to be in charge and then Leo started being an egotistical dumbass. And when Leo does make the right decisions, Donnie and Mikey might side with him over Raph, and that will also grind his gears.

Mix all that together and you have a recipe for a capital b Breakdown.

So yeah, I can definitely see how the Shredder!Raph incident and its aftermath would worsen all three of their tempers, trauma will fuck up your emotions real bad. Perhaps Host Raph loses faith in himself and tries to step down and get Leo to replace him as leader... only for Leo to be like “Bro I cannot do this full time I will one hundred percent have my own Breakdown if that happens.”

The life lessons here are that Leo learns to offer support by sometimes taking the leader role; not to benefit his own ego, but because he wants to help Raph. And Raph learns to accept support by letting Leo be in charge sometimes; not because he’s weak or incapable, but because he can’t always be a Staunch Immovable Rock and he needs to let himself rest by trusting Leo.

And then the Raphs can work on communicating, cooperating, letting their allies know about them, digging into their trauma, etc. now that they have some breathing room.

(Do you think the Hidden City has therapists? Steven Universe and Mao Mao both have therapists can we BLEASE get one for Raph.)

[relatablegenzwriter]

30-Day Writing Challenge (for novelists)

this challenge is intended for novel writers who have had a strong novel idea for a while and know their story fairly well, or who have already made a little progress on a novel, and are stuck on it. i’m not an expert so i don’t know how much this is actually going to help you get out of that rut, but the hope is that you’ll spend a month immersing yourself in the world of your story and you’ll get some motivation out of it. i’d suggest taking about 30 minutes (at least) to do each activity, and to do everything completely distraction-free, with your phone in another room and your computer on do not disturb (if you’re writing on a computer). enjoy you nerds.

1. Write out your entire plot, even if you’ve already done it. This will re-familiarize you with your project.

2. Get the basic information on your main character. Write their backstory up until the point where your novel begins, make note of characteristics, and get their basic appearance down. Got multiple main characters? Great! You get to write more. (That’s what you get.) For all characters, make sure you know:

your character’s wants

your character’s values

at least five character flaws

the role your character will play in the story

how you want them to change over the course of the story

optional but recommended: cultural aspects like race or religion, which will help you develop their background and values a lot better.

3. Do some basic worldbuilding: what year is this novel set? Country? Planet? What are some traditions or norms? Is there magic or new technology? What’s up with the government? If your novel is set in our current world, work out the specifics of the characters’ neighborhood, home, city, etc.

4. Without allowing yourself to see any previous versions that may exist, write the opening scene.

5. Do what you did on day 2, except for your antagonist. No clear-cut antagonist? Pick whoever’s closest, or do the prompts for a supporting or minor character.

6. Research day: go through what you’ve already written and highlight everything you wanted to look up later, then spend some time researching it. You’ll probably find out more things that you’ll want to add to the plot.

7. Character day: you’ll have four of these, so divide up your characters accordingly. Do some of the character work you did for your main and antagonist for however many . You can go into less detail if they’re less important, but make sure you still know the six main points that you got to know about the more featured characters.

8. Pick a few parts of your worldbuilding exercise that you want to go more in-depth into (i.e. political systems, technology, cultural traditions) and spend about thirty minutes writing, brainstorming, and researching things to flesh them out. There will be three worldbuilding days, so make sure to save some material for the others!

9. Look through the plot you wrote out and see if you can find any plotholes, concepts you want to flesh out more, or parts that are unclear or missing. Really take some time to understand what the problems are, and come up with some possible solutions. It’s great if you figure out what you want to do, but if you don’t, that’s fine! You still made progress.

10. Without allowing yourself to see any previous versions that may exist, write the ending scene. Spoiler alert: this is going to be really hard. You can try writing a couple contenders, or even outlining a scene if you’re not quite sure where to go. Don’t worry about trying to make it pretty, because it’s not gonna be pretty: you don’t have all the details that you would if you were writing in chronological order.

11. Character day

12. Write your favorite scene. If you have a strong story idea in your head, you most likely know the one: you daydream about it when you wish you were doing something else, it plays like a movie in your head, it’s probably located somewhere around the middle of the book, and you probably haven’t let yourself write it because you “haven’t gotten there yet”. Today’s the day. Go nuts.

13. Rewrite the opening scene from a different character’s perspective. I know this sounds really cliche, but even if it doesn’t give you more insight on the story, it’s fun to do.

14. Worldbuilding day

15. Research day: research new stuff that you hadn’t written last time, plus anything over from the first research day. Not sure what to research? Characters’ cultures, the history of your setting (if in our world), famous fictional worlds, language development… if you sit and think for a little, you’ll figure out something you want to know.

16. Pick a few of your favorite character relationships: romantic, platonic, familial, whatever you want, and spend some time sketching them out. Think about their arcs, how they met (if they’re not related), what they think about each other, how they interact… basically anything you want, as long as you come away knowing more about the relationships between your characters. Also, please make only half (or less) of these romantic! It’s super important to develop the other relationships in the story.

17. Pick up from where you left off in your opening scene and write the next scene. Again, don’t look at any previously existing drafts.

18. Character day

19. Emotion break! Make a list of everything you don’t like about your book. Get all your insecurities out onto the paper, then refute everything you don’t like. If it’s specifics like “I don’t like that x happens”, figure out how to make x not happen. If it’s general doubts like “This has been done before and I’m unoriginal,” refute that too! Everyone doubts their work all the time and I can guarantee that we are all more critical of our own work than others will be. Finish today’s unconventional activity off by writing a list of everything you love about your book.

20. Pick any scene you’ve written for this book, whether it be from this challenge or something you had before, and rewrite it in some form of AU. Change the genre, time period, location, context… you are a god.

21. Worldbuilding day

22. You know those books that are stories told entirely in poems? You heard me. (Start anywhere you want to, write at least five or however many you can get done in 30 minutes. No one will ever read them, so don’t complain that you’re not a poet.)

23. Find a list of dialogue prompts and pick a few to do with your characters. Want a challenge? Choose two characters at random. (I mean using a generator or drawing names out of a hat. COMPLETELY random.)

24. Pick up from day 16 and write the next scene.

25. Last character day :(

26. Write, or at least, begin, a very short story in your world. Try to include no characters from your actual story. If your novel takes place in our world, focus in on the characters’ neighborhood, time period, workplace, school, etc. This exercise will help you get to know your world through a different perspective. Don’t stress too much about this! It doesn’t have to be very long or even to be finished.

27. Fun day! Pick three of these activities to do with your novel:

Make a playlist about the novel as a whole, or make some character playlists

Design the cover

Cast actors in the film/TV version

Draw: character portraits, scenes, maps, landscapes…

Put together a moodboard for the novel or a character

Write that completely unrealistic scene you love so much but can’t put in the novel for plot reasons

Make memes about your characters

Sit and daydream for a solid 10 minutes about the Vibe of the novel

Anything that falls into a similar category

This is a callout activity for all you ””””””””writers”””””””” who spend more time daydreaming about novel ideas than actually writing. (this is 100% a joke because this is 100% me)

28. Rewrite your opening scene from a different narrator. If you wrote in first person, use third. If you wrote in third, use first. You can also mess with second person if you feel like you have an artist superiority complex and aren’t like other girls.

29. Pick your favorite activity from so far and do it again.

30. List everything that you need to do before you can jump right into the first draft. Then do it.

[luasworkshop]

Magical Skills: Prior to their death, Lua had a certain amount of… overconfidence. Everything they did came easily, and if it didn’t – they didn’t spend time on it. This meant that while they were (and are) quite gifted in many arenas, they didn’t necessarily hone their skills into something masterful. Death, both tempering their courage and heightening their focus, seems to have caused them to settle more on what they are best at. Lua excels primarily at two things – shape-shifting themselves (a skill they have had throughout their life), and imbuing mechanical objects with spells and other cleverness (something they have been interested in a long time, but that they are more recent at trying to perfect). They also have a natural affinity for the ocean. In contrast to canon, even before they have their memory back, Lua does not refer to themselves as Asra’s apprentice (their memory may be dodgy but it’s still a weird power imbalance. Aleis is the same.)

Shape-Shifting: After their skills fully return and develop following their reincarnation (sometime after the main events of the story), Lua is able to take on the shape of just about anything. They are capable of taking on any animal form, appear as other individuals, make themselves appear as inanimate objects, and so on. In the form of animals, they have all of their natural skills and abilities – flight, speed, gills, etc. and are able to use them to their full extent. The upper and lower limits of their size seemed to be determined by life living on the planet (as their upper limit seems to be about that of a blue whale, and lower limit being about a bacteria). In order to facilitate this change, their mass is either borrowed or lent to some arcane realm, specifically designed for this physical change. Lua finds shape-shifting innate and easy, so the exact mechanisms of this are not totally clear, but they are always attempting to better understand them. It does seem that changes in excess of approximately 200lbs are quite taxing physically and magically (and can only be maintained a short while – and usually require significant time to recover from). Unlike Aelis, they are unable to split their consciousness into multiple forms or become semi or fully incorporeal. They also tend to fully shift into things (even if it’s something fantastic) rather than just giving themselves piecemeal aspects (although they can, they find it easier to just go all-out – there are some exceptions to this). Lua also uses their shape shifting to better understand various animals, their biology, environment, and how the world around them works. Despite Lua’s overthinking (perhaps because of that awareness) they always have a clear sense of their own self which assures they are not lost in shape-shifting. They are able to return to their comfortable human form no matter what shape they take, as they are confident in their own body in this regard.

Other Shape-Shifting Ephemera:

- Lua’s shifts are very quick, generally less than a second. There’s body horror and uncanny valley stuff in there but it’s usually too quick for the human eye to catch. Usually. Lua can deliberately slow the process if desired but it may prove uncomfortable.

- Allowing themselves to breathe underwater is so innate to them they don’t even slightly think about it anymore.

- They use shape shifting to keep from getting drunk if they don’t want to (this requires conscious effort and they don’t always do it in a timely manner). They can use it to other metabolic effect as well.

- They can embrace the abilities and instincts of other creatures without loosing their own mind. (This would be much harder if not.)

- They don’t necessarily tend to have a ‘set’ form of any given animal – they can be whatever they’d like. They tend to be a specific species example when animal shaped (being, for example, Epicrates cenchria the ‘rainbow boa’ rather than just ‘a snake’ or ‘a boa’), and if they’re not feeling obtuse or deliberately trying to blend in they’ll be a color morph that feels recognizable as them (earthy toned or blue-black furred with some white flecks, medium/large sized, somewhat lank, gold eyes, etc.)

- They have a rather encyclopedic knowledge of animals, furthered by curiosity, travel, and study.

- They are not particularly able to use shape-shifing to heal themselves – they can use it to prevent injury in the first place if they can catch or react to something in the first place (shifting around blunt force or strengthening the area where the blow might be) – but the amount of energy needed to use this ability to rapidly heal makes it a moot point. Wounds shift with shifting, scaling appropriately. More injury makes it harder to shift (owing to pain and exhaustion).

- Getting sick is similar – if they catch a cold early enough they might be able to forestall it by running it through a different immune system, but if they’re in the midst of the flu they can’t really shift much anyway, it’s too taxing and hard with a gooey head.

- They generally can’t take their clothes with them, needing to remove them so they’re not damaged if they’re going to get a lot larger. (There’s an internal pocket based workaround but they can do but don’t like to use it as it’s distracting). There’s probably a way to shunt clothes off to another arcane realm and summon them back in a tidy fashion but they’ve not yet figured that out.

- They can mimic clothes and other trappings with their own body but it takes focus. It also leaves them vulnerable to cold and sun. This is great for espionage, party tricks, and not much else.

- They tend to keep their earrings in in casual situations if it works with the form (short of it being too small it usually does).

- They don’t shape-shift in their sleep, which would be on par with very dramatic cases of somnambulism. They might have little rivulets of color, fur, feathers, scales, etc. move across parts of their skin now and again if they’re having a really dramatically weird dream (much more akin to sleep-talking).

- Their shape-shifting is kindof ‘sticky’, if they fall asleep as something they’ll tend to stay that way until they wake up and consciously change back (although another magician could force them out of it, depending on the situation).

As mentioned – their mass relates to an arcane/magical relationship. This is the same for their ‘library’ of forms. Lua is well traveled and very knowledgeable, but they are still able to shape shift into animals (and other things) they are not immediately familiar with (with enough description or information) by accessing through an internal, magical connection, an inter-dimensional arcane library of information. This is, again, not well understood and comes naturally to them – but relates to how they (and Aleis, and other shifters) are able to take on various forms without breaking themselves or reality. This is not a ‘curated’ or human-created thing – more of a 4th dimensional log of information that is accessed through magical means at blisteringly fast speed. Lua’s ability to access and reference this information is so internalized they themselves would not be able to explain it well (it would likely take some magical scholar who understands very high end physics).

Artifacts: Lua has a mind for clockwork and other mechanical contrivances and skill at imbuing these with spells and other magical effects. The work they produce stands on its own as fully functioning once it’s complete, and has fascinating abilities because of it’s magical nature. If one were to consider Lua in the modern era – they would be respected as some sort of robotics engineer. As it is, they create work which tends to be beautiful, esoteric, and serve some sort of strange function. Lua’s primary income stream is from private commissions on this work – it is complex and time consuming to produce and their rates are high (Nadia is a repeat customer these days). The practical work they produce include things like astrolabes that can project an entire moving star map, lockpicks that reveal what is happening inside the lock, automota which can serve as two-way communication devices, and so on. The more artistic work they produce can be more delightfully frivolous – a hand organ that that plays in colors, jewelry that can turn into a little creature and run around, music boxes that change their melody based on mood, and on. Combining their skills with their spouse’s skills with miniatures has made for some decidedly fascinating and weird results. Because of all of this – Lua is an impeccable draftsman, and is generally seen with a shoulder bag full of drawings and drawing equipment (they do not usually bring their pieces to work on when traveling/visiting unless they know they will have a works space where they set things up and leave them undisturbed, however they will gladly plan out future projects and refine ideas wherever they can set down a piece of paper – and draw silly or entertaining things at times).

Lua is also adept at repairing non-magical clocks, music boxes, and other automata only using magic as a means to assist (rather than permanently repair) the object (such as magnification, steadying their hand, creating light, etc.) They tend to take on fewer of these projects as they prefer to imbue or work with items which are magical in nature. They are not an all-purpose expert (as some automata, even non-magical, are incredibly involved), but they can certainly get a pocket watch going again with no trouble.

Their work never really mimics modern technology – these are esoteric, magical items, not ‘fantasy cell phones.’ They do sometimes demonstrate what may seem like anachronisms (precise knowledge of astronomy, chemistry, physics, etc.) but these are things based on Lua’s studies, travels, and personal experience and a dash of magic.

Combat Magic: Weapon-wise, when pushed, Lua favors what is functionally a compound bow, which is more sympathetic to their magic than a recurve, when dealing with long-distance armed combat or hunting. (This is highly anachronistic but so is the piano that Nadia plays.) Lua is not adept at hand-to-hand combat (they are not particularly trained at this apart from very basic blocks and holds from Aelis) and they prefer to use their shape-shifting to fight. They are incredibly clever and dangerous when it comes to fighting this way, able to shift quickly, and utilize the abilities of various creatures to their advantage (speed, strength, armor, venom, etc). A shape-shifter battle is very exciting to watch. They have a similar approach to hunting, as for them much easier to be a predatory fish or bird than hook up a line and reel (though they don’t care to eat their catch raw unless it is particularly delicious to the human palate).

Divination: Lua is passable at divination, but doesn't generally like to do it. They rather fundamentally object to asking others what is ahead of them (as they prefer to take charge of themselves), and when it comes to reading for others their heart generally isn’t in it. They don’t object to the arcana themselves – they find them fascinating and an incredible resource, but so far as Lua is concerned they have better things to do with their time than deal with fussy mortals. Aleis and Lua have turned to it as an income stream in tough times, but it only has made Lua more resentful of it – that’s Asra’s business (they don’t really mind him doing it, he has a much better personality for it, both for chatting with the arcana and for dealing with customers). Aleis excels more at the ‘headology’ part of divination – giving people what they want to hear to feel better than Lua does, but Lua isn’t bad at it when pushed. Lua prefers wood/bone burning rather than tarot reading.

Other Magic: Lua and Aleis are still powerful magical generalists, and while mastery takes time and effort, basic functions tend to come easily. Still, magic that is sympathetic to their personality is the easiest to work with, and Lua tends to take to conjuration, summoning, and other ‘creation’ magic (whether it’s elemental lore, otherworldly entities, or simply starting a fire). If there are written instructions or known spells Lua can usually parse through them pretty quickly for at least passable results (not masterful or clever or elegant ones mind you – just workable). Antithetical to Lua’s nature is magic that involves control of other people - illusions, manipulation, teleportation, and similar effects are very difficult for them to get their head around. The same goes for magic meant to control or manipulate natural phenomena. This is why it takes Aleis’ help for them to help shape-shift other people. Fortunately Aleis and Lua’s magic compliments each other nicely, and where Lua struggles Aleis thrives and vice versa. Together their magic is incredibly strong and they are used to letting the flow of raw magic power go between each other to compliment their work.

Familiar: Lua is extremely obtuse when the matter is mentioned. Most people are not sure if they do or do not have one (in fact Julian and Lucio have an ongoing game of trying to figure out what it might be and bringing various animals to Lua to see if they ‘stick’ or ‘click’. Fortunately Lua likes animals. When it doesn’t work they get them off to wherever they belong – the sanctuary, a farm, back home, etc).

Retreat: Like Asra and Aleis, Lua has their own retreat. Their cozy log cabin is on a rather lush, generally uninhabited, crescent-shaped island off the cost of a northern rain forest, full of tall pine trees, sandy beaches, rocky outcroppings, and dramatic winter storms. They built this prior to their death, and have been happy to return to it – giving them peace away from other people (although they occasionally bring friends with them, the rule for all the magician’s retreats is that unless you are invited you should not show up unexpectedly). With a small footprint, their cabin is the only indication of habitation on the island. It has enough room for a bed, work table, fireplace, small kitchen, and a detached Japanese-style bath Lua has set up with magically running hot water. While there is suitable game on the island (and certainly a bounty in the sea) Lua generally prefers to stock up their larder with groceries whenever they visit.

Gate: Lua and Aleis share their magical gate. It is a beautiful but lonely, rocky island in a storm-tossed sea. It’s high basalt cliffs protect an inner forest sanctuary, who’s lakes and streams, bubbling up from deep underground, flow out through underground caverns and give secret access to and from the sea. There are creatures in the woods, some familiar and many not, they watch strangers with attentive glowing eyes. Despite the apparently small size of the island, it seems as though the woods go on without limit, unless they want to allow you to access the steep rock and precarious climbs of the protective rocky coast, or onward to wherever it is you are going.

[jackdawyt]

I am beyond privileged to share my very Early Access impressions of The Waylanders, thanks to the developers at Gato Studio who gave me an early key. 

The Waylanders is a party-based RPG set in the Celtic and Medieval eras, inspired by classics like Dragon Age: Origins, Neverwinter Nights 2, and The Legend of Zelda: Ocarina of Time. I’ve only played the first 10 hours of this game, and I’ve fallen for it. It’s very apparent that the developers of The Waylanders love Dragon Age. And so, to anyone who loves Dragon Age, will love The Waylanders.

I’ve played prologue and the very few early hours of the game which are in early access, meaning there’s plenty of work that needs to be done and nothing in the game is final. However, I was able to get an amazing feel for what the finished game will look like, and believe me when I say, this is the Dragon Age successor we’re all looking for.  

Character

Upon starting the game, you’re taken to a very recognizable character creator, clearly inspired by Dragon Age: Origins. You can choose between a male/female body, four races, six classes, and then an origin story based on each of those choices.  

The races in Waylanders are rather distinct, as opposed to traditional DND races like elves, humans and dwarves. Here we have the choice between human, werewolf, mourian and semi-fomorian.  

The classes are rather straight forward, each of them have unique weapons, abilities and features. As an example, Rangers have the Pets feature which allows them to have animal companions, and Sorcerers can teleport using their specific magic feature.  

You can customise your character with a few hairstyles, facial types, different skin tones, eye, hair and facial hair colours.  

You can then apply more points into your statistics based on your race and class. And the final aspect of customisation is your identity, where you choose your name, pronouns and voice.  

The voice is just for grunting noises in combat, I believe the game follows a silent protagonist so you can make up your own voice.  

After making those final decisions, you’re given a cute lore character summary, backing up each choose you’ve made for your PC. Now your adventure can begin.  

Story

The story is told through a plentiful of cutscenes and long dialogue interactions, of course, just what Dragon Age fans love. I found each of them engaging and I was hooked from the start really.  

I’ve played the prologue twice, and a few blocked out side quests that are still in very early alpha. The story starts with the Spanish Celtic tribes arriving at Ireland to meet and convey a union with their gods. However, things don’t go according to plan, as you can imagine.  

What’s fascinating about The Waylanders compared to Dragon Age for example, is that the lore is steeped in Irish and Spanish folk lore. We discover many legends like ‘The Tuatha Dé Danann’. Which means ‘the tribe of the gods’ in Old Gaelic. It’s exciting lore that actually exists in some of the real world’s sub-cultures today.

The setting of the game is based in medieval Galicia, which is in Spain. The developers are actually from Spain, the stories they’re telling throughout The Waylanders are tales each of them has grown up with.  

I won’t say much more on the main story, other than the protagonist has a mystery that reminds me of Kingdoms Of Amular Reckoning. Of course, another stellar RPG that takes pinches from Dragon Age: Origins.  

The plot seems to surround a lot of time travel themes, going forward and back in time, with many choices and consequences taking effect from your decisions.

As a whole, the writing is excellent. And that’s expected due to the fact that Chris Avellone, best known for writing Fallout: New Vegas, took the helm. Alongside with him, Ex-Telltale's Emily Grace Book who’s the fabulous Narrative Lead.  

Not to mention Mike Laidlaw aided to team with his creative vison to “create a high-level narrative and to structure the game and the story.”

And if that’s not enough, Dragon Age veteran Inon Zur composed the soundtrack of The Waylanders too, which is just beautiful.  

I want to share more about the main characters. So far, they’re compelling, even in just the first hour, I found myself latching onto each of them, with their many different personalities.

In my opinion, the dialogue holds the game up, I found myself engaging in every single conversation I could, interacting with every character. I’d say my favourite character so far is Nazhedja. Naz for short.

She’s very intriguing! Being a mourian, she’s immortal, though she composes herself as a charming and relatable individual.  

The voice cast is amazing and familiar with the likes of Simon Templeman, known for playing Loghain in Dragon Age taking the role of the Celtic Druid Amergin. Personally, as a Brit, I fell in love with hearing so many of my countries’ varying accents.

And apparently there will absolutely be romance in the game, however, it’s not in the alpha stages. But we can all look forward to that!  

Gameplay

The Waylanders gameplay centres on building up the narrative, there’s an emphasis on interactive conversations. You’ll spend a fair amount of time asking questions and getting to know each of the characters in this world, building bonds and shaping the story.  

The game has a linear feel to it, however, once the prologue is done, you can explore many of the hub areas. Very much like Dragon Age: Origins. The world is lush to explore, and the art style is fantastic. It has a cartoony feel to it.  

While exploring the stunning areas, you can switch the camera’s placement for a more isometric feel, or stick to a more third person feel, whatever suits your playstyle. This is an amazing quality of life feature, that I think other games like this need to adopt.  

There’s a huge codex, which updates frequently after conversations. It’s a wonderful touch, I spent plenty of time reading each of the characters and their backstories.  

Combat

The combat is rough around the edges and it can be hard to properly aim and target your opponents. Too often I’d cast a spell at an offensive enemy, and I’d accidently click and switch to my warrior companion who’s bashing the same enemy in the face.  

You can have up to five party companions at a time. And there are these grouped up attacks you can do as a squad called formations. You band together and attack. It works like a charm.  

The combat does feel very identical to Dragon Age: Origins, even down to the animations of fighting and how long it takes to fire a spell, or shoot an arrow from a bow.  

One of the developers gave me a few console commands for my stream, and I was able to see what animal pets we could have, I was very surprised with the amount of animal companions you can have. There’s even a dragon!  

Each of the classes prove to be very unique, in my two playthroughs, I played as a Sourcer and a Rogue. I loved the individual features each class provides whether it’s a passive or an actual ability, each class have dynamic ways to stand out. And of course, if you’re undecided which class to play, Waylanders is a party-based RPG, you’ll always have a companion with a different class you can switch to and play as.  

Summary

In summary, judging the early hours of The Waylanders, the game has very reminiscent systems and gameplay that anyone who’s played Dragon Age will find themselves familiar with. However, the game has proven itself to be original with its engaging story, intriguing characters and unique lore.  

Of course, the game is in its early access alpha stages, and there are plenty of bugs and things that need further improvement. But I can see the heart and passion that has gone behind this game, and that’s what I’ve grown to like about this game.  

I’d say to anyone who’s a huge fan of Dragon Age: Origins, why not go and give The Waylanders a shot. The game launches on Steam’s Early Access store on June 16th, support this game as it grows throughout development, and releases as an epic Dragon Age successor.  

[eldritch-elrics]

this summer, me and my brother watched four whole shows. at long last, here is my comprehensive review of all of them!

in the order we watched them, these shows were:

avatar the last airbender (ATLA)

mob psycho 100 (MP100)

demon slayer / kimetsu no yaiba (KNY)

fullmetal alchemist: brotherhood (FMAB)

they were all very very good!

i’m not going to try to rank them, but, as is probably obvious by the state of my blog, my favorite was FMAB :) if i had to pick a least favorite, then, it would probably be KNY—not by any fault of its own, but just because it didn’t appeal to me quite as much as the others. still a very good show!

i will review each show by:

giving a quick plot-based pitch discussing the show’s hook or appeal

discussing one element that i believe it does better than any other show on this list—in other words, a quality that i think it stands out for

discussing one element that didn’t appeal to me or that i had issues with—a criticism

putting forth my favorite character and favorite episode or arc, just for funsies

including various other commentary. mostly positive, as, again, i did really like all of these!

(i’ve tried to make this whole thing free of specific spoilers, but if you’re planning on watching any of these shows and want to go in more-or-less blind, it might be best not to read this.)

first of all, i’d just like to discuss all four of these shows as a whole! it was definitely interesting watching one after another and noting similarities between them.

all of them have siblings in them! which is, perhaps, fitting, as i watched them with my brother

two include a pair of siblings in which one has powers and one doesn’t (at least at first), and part of the narrative involves getting better at using those powers (ATLA, MP100)

two include a narrative centered around a pair of siblings and something tragic that happens to them, resulting in the older one being traumatized and forced to train to become a soldier, and the younger one turning into something (arguably) inhuman. the protagonist’s major goal is to return his younger sibling to the way they were before (KNY, FMAB)

ATLA and FMAB are both fantasy political dramas, which is rapidly becoming a favorite genre of mine

most of these are historical, or historically inspired in some way, which is interesting!

all of these shows are really really good at character building. all the main characters are interesting and complex, and the relationships between those characters are similarly nuanced and very well written. they make you really care about both the protagonists and the side characters!

avatar: the last airbender

pitch: as the ever-growing imperial force of the fire nation threatens the earth and water nations, a kid from the long-lost air nation turns up and it turns out he can control all four elements and he has to save the world and all that. sorry i tried to write this pitch like five times and realized that well at this point i think everyone reading this will know the plot of avatar

stands out for: avatar has possibly the best worldbuilding i have ever seen in a show—it takes the time to introduce us to so many places and aspects of its world, both explicitly and subtly. the main highlight of this is the magic system. by creating a magic system based in body movement, the process of using magic and learning to use/control it better becomes immediately obvious to the viewer. combine that with the philosophy behind each type of bending and the way that characters take bending inspiration from types different than their own, and you’ve got a system that is complex, flexible, believable, internally consistent, and just plain fun! it makes action sequences a blast. i especially liked the moments when bending was stretched to its limits in totally logical ways (metalbending, bloodbending). not to mention the way that bending is seamlessly integrated into the world of avatar! the example that comes to mind is the earthbending-powered transport system of omashu. a whole essay could be written on that topic alone!

criticism: i know this is a sentiment shared by many people, but the first season was kind of boring to me. some of the humor and the plots felt hit-or-miss. of course, it needed to take that time to establish the world, and it does a great job of doing that. it just didn’t hook me until the second season.

favorite character: i love toph she’s so much fun :) iroh is a close second! and zuko is great, too, of course

favorite arc: i loved ba sing se a ton, especially the episode when they get there and everything feels off. it felt so resonant with real life, in a very fun way. there’s a reason “there is no war in ba sing se” is a meme…

other commentary: what can i say? it’s a classic for a damn good reason. the plot is tight, and it does a great job raising tension and introducing new elements and twists. i also love the care put into the antagonists, especially azula, who has a fascinating arc.

mob psycho 100

pitch: a middle schooler and a charismatic con artist team up to smite ghosts using extrasensory powers. thing is, only the middle schooler actually has ESP, and it happens to be really, really powerful. can he navigate the difficult world of middle school while also getting a better grip on his powers—and his bottled-up emotions?

stands out for: the way that MP100 uses animation is excellent. it takes a little getting used to but it’s just so fun, combining all sorts of different techniques to create an experience rich with drama and emotion. it’s playfully exaggerated and self-parodying, adding to the show’s fantastic sense of humor as well as its truly emotional moments.

criticism: the way that ESP works makes suspension of disbelief tricky. it’s a great feat to introduce a character who is essentially all-powerful and still make them interesting (even in fight scenes), but at times (especially the second season finale) it felt like a magic system with too much breadth and too few limitations. this might just be my bias for hard magic systems talking, though.

favorite character: other than mob and reigen? probably teru. he’s loads of fun AND all the season 1 episodes he’s in slap hard

favorite episode: the one where the girl asks mob out on a date as a dare.. it’s super cute

other commentary: thank you mp100 for being the leftist propaganda we all deserve <3

in all seriousness though, this show is a blast!! it does a great job switching between silly and serious in the blink of an eye. i also really appreciate the way that it balances comically huge stakes with much smaller, more personal stories. for example, the conflict between mob and reigen in season 2 is especially well-done. in general the emotions just feel so real? characters whose emotions tie into their powers are an excellent trope, and mob is a wonderful protagonist who exemplifies this really well.

finally, on a more critical note—there are so many characters in this show! and it feels like only a handful are fleshed out? however, this may be due to the fact that it’s not an adaptation of the entire manga (which i haven’t read). there’s a lot more to go! more characters to dive into! so i probably shouldn’t try to critique it in the same way as a finished work.

demon slayer / kimetsu no yaiba

pitch: demons kill a boy’s family and turn his sister into a demon, so he decides to try and figure out a way to turn his sister back into a human. what follows is a demon-killing adventure that’s in equal parts harrowing, poignant, and hilarious.

stands out for: there’s not much i can say about this other than “please just take a look” but the art and design is phenomenal. it does a much better job of integrating 2D and 3D than a lot of other animated series, and overall it is just so so pretty! all the character designs are complex, memorable, and fit the characters perfectly. the color choices are interesting and satisfying. i also really like the sound design? not often that i notice that in a show. i’ve watched so many KNY amvs by now lol it’s just amazing animation

criticism: the narration style leans too heavily towards tell instead of show. this is mostly an issue with the first few episodes, but i got super annoyed by how much the show would narrate every single one of tanjirou’s thoughts instead of letting us infer those thoughts through his actions and reactions—the latter, i think, would have been more emotionally impactful. sometimes silence speaks louder than words! tanjirou was also not the world’s most compelling protagonist in my opinion, though i think that mostly has to do with my own tastes.

favorite character: *holds up zenitsu* I Just Think He’s Neat. i actually kind of lost it when he first used his powers, like… damn i love characters with weird relationships with their magic like that. i also think the narrative about how having a solid foundation is sometimes more important than knowing a ton of different moves was really powerful. and he’s just funny! pathetic boy i love him

favorite arc: really just the whole spider arc. fucked up man… i love it. they pulled off that last twist so well, and all the family stuff was so weird and complex and emotional…

other commentary: it’s just a really solid and very well-written show! the team of tanjirou, zenitsu, and inosuke is so much fun… bro bonding :) i also quite like the horror elements; it’s fucked up but in a good way. finally, this is very specific, but the demon that can alter buildings/rooms through drumbeats? appealed to me very much. it’s a cool and unique power!

fullmetal alchemist: brotherhood

pitch: two kids do some fucked up alchemy and end up getting parts of their body stolen by god. now they’re on a quest to get their bodies back, but find themselves wrapped up in crazy government conspiracies and alchemy more powerful than they ever could’ve imagined…

stands out for: plot. by this i mean less overall concept (though the overall concept is pretty great too), and more that the pacing and progression of the story is extraordinarily tight. for the most part (the first few episodes are a little weak but i’ll let it slide), it does an excellent job establishing its premise and building on it logically, adding layers and layers that extend naturally from what we already know. everything has a reason for happening; everything is revealed in good time and all the twists are super satisfying. there’s great balance between exciting moments and quiet moments. it’s just very good at being a story!

(fun fact: i’m reading the manga right now and so far it’s even better paced than the show, which is super interesting! it’s especially good at how it lays out pieces of the backstory and then fills everything in later in a really satisfying way.)

criticism: this is incredibly specific but it’s what comes to mind as something that bothered me: winry’s character arc was really disappointing. for most of the series she’s a pretty strong character, but in the end it feels like she gets pushed aside, defined only by her relationship with ed. what happened to her wanting to take action more? that was a specific desire she expressed—wanting to be less passive! since she’s such an important character, i wish she could have had more presence in the last season other than as a sounding board for the elric bros’ emotions. (even though her one scene in the last episode was really good and emotional…)

favorite character: other than the elric bros, absolutely ling. he fits into multiple of my favorite character archetypes (fun, silly, bastard, gets possessed…) and he’s just overall a delight. plus his relationship with greed is really really good. bro bonding at its peak!! (my other favorite is pride. i will not say why because spoilers. but if you know me.. you know)

favorite episode: this is really really hard to choose but i’m gonna go with envy’s death because. holy shit.

other commentary: i’m a really big fan of the complex and nuanced way in which FMAB breaks down militaristic, imperial regimes from the inside. many of the characters have done awful things, and the story forces them to grapple with that and accept that all they can do now is be better in the future. the moral complexity is just really good! characters with flaws—we love to see it!

finally, parts of this story seem so so catered to Me Specifically that it’s no wonder i got so into it. like just the entire premise? the way that so much of the conflict is built out of identity crisis and exploring the nature of consciousness and human vs inhuman? beautiful. i love ed and al so much

*

if you made it all the way to the end, thank you so much for reading!! glad to have finally gotten this done (3 months late…) and put all my thoughts down. i hope this inspires someone to try watching one of the shows i discussed!

[scottymcgeesterwrites]

Final Fantasy VIII Review

(A serious review this time, without spoilers.)

Year: 1999

Original Platform: PlayStation One

Also available on: PC, PlayStation Store

Version I Played: PlayStation One

Synopsis:

Squall Leonhart is a new recruit of SeeD, a mercenary team protecting the world. Rinoa is a resistance fighter against the Republic of Galbadia, led by the Sorceress Edea who is suddenly hellbent on conquering the neighboring nations. Squall and his team attempt to assassinate Edea, but the mission goes awry.

Gameplay:

Final Fantasy VIII throws nearly every previous battle system out of the window. It’s nearly as radical as Final Fantasy II’s battle system. Enemies around the world map average their levels according to your average level among your characters. You only need 1,000 EXP (experience points) to rise to each level, unlike the other games where the EXP needed rises after each level. But that doesn’t mean your character levels up all their stats – that all depends on the summons, known in this game as Guardian Forces.

 Unlike other games, summons are crucial to the gameplay, despite not being crucial to the story itself. The Junction System has you “junction” each character with a GF, allowing you to assign different battle commands (Item, Draw, Magic, GF, etc). If you don’t assign a character a GF, all they can do in battle is “Attack.”

That gets super annoying when you’re moving around GFs between characters a lot but you forget to assign that one character a summon right before a major boss battle, so then they can’t do shit.

The drawing system is my favorite aspect of Final Fantasy VIII’s gameplay. Instead of harnessing magic by a points system (such as MP), you draw magic from enemies. Magic is only limited by the number of spells. For example, you fight an enemy and draw 5 Curas from them. You now have 5 Cura spells. You can hold up to 99 of any spell. You don’t have to worry about ethers or running out of MP. I guess it’s an incentive to battle enemies, as they are resources for magic.

But the way the GFs work annoy me the most. You to call upon GFs at any time in any battle for an infinite number of times. This doesn’t give you any incentive to even try battling. If something annoyed me, I just said, “Fuck it” and spammed GFs. Not only that, but you have to sit through the short cinematic sequence of your summon every time you call them. I must have viewed Shiva’s summoning sequence ten-thousand fucking times before finishing the game. This makes battling feel repetitive, tedious, and unenjoyable. Battling was a chore.

The Junction System overall is so complicated that you have to go through a tutorial within the first twenty minutes of the game. It’s aggravating enough already to sit through Quistis going, “Blah, blah. blah” but it’s actually super important because if you don’t pay attention then this game will be tedious.

The final battle though? That shit was epic. Hard. But epic. One of the best final battles.

Graphics:

This game took a different route in giving realistic proportions to its characters. While that’s a cool idea on paper, the overall effect is. . .boring? Almost every other Final Fantasy game has a cast of very distinct characters, like various species, age groups, or wildly different clothing. To suddenly play a Final Fantasy game with what looks like real people – like Bob, Joe and Jill – seems drab. Selphie by far has been the least interesting character to me. When your characters look and feel like NPCs, it’s hard to become invested in them.

I wasn’t a fan of many of the backdrops because for whatever reason I had trouble discerning some doors. I couldn’t tell what I was looking at in the background sometimes, like if there was a switch or button that I had to press.

The cinematics are great though – some of the best in the series. It has the most memorable opening sequence of any game – the duel between Squall and his rival Seifer. The cinematics were a MAJOR step up from Final Fantasy VII.

Story:

Oh hey, so here’s a serious, non-spoiler, non-inflammatory review of Final Fantasy VIII.

Put this story side-by-side with Final Fantasy VII and you can see how they carried on the inspirations. Once again, the story is set in a more modern setting with cars, trains, etc. Squall is Cloud. Rinoa is Aerith. Etc., etc.

Squall Leonhart is the epitome of angst. You will spend the entire game rolling your eyes at Squall’s angsty introspective thoughts about the situations he’s in and people around him. Squall is essentially a bad version of Cloud Strife from Final Fantasy VII. Take Cloud but only take his cool design and angsty responses. That’s Squall Leonhart. Squall literally has no interesting qualities about him other than his physical design. He can rock that jacket and that scar on his face. Squall’s “romance” with Rinoa Heartilly is also a cardboard copy of Cloud and Aerith’s romance. Squall meets Rinoa by a chance meeting at a military ball. She serves as the optimistic, lively counterweight to Squall’s stoicism. But there’s hardly any depth other than Squall finding her pretty and Rinoa thinking he’s cute and handsome.

The cast of characters is bland, to say the least. They are composed of other students (Quistis being an instructor though) at Balamb Garden (except Irvine, who is a student of another Garden). They look boring. Their introductions are boring. Balamb Garden sounds like a cool idea – a mercenary school – except it plays off more like a poorly written high school anime drama, which is lame. At one point, Squall’s friends – Zell, Selphie, Irvine and Quistis – all try to conspire to get him to talk to Rinoa. You actually have to play through that of the plot and watch it unfold. But Squall tries to understand Rinoa’s upbeat attitude with lots of question marks in his thought bubbles and mumbling, “Whatever”. It’s jarring to sit through four discs of this over and over.

The plot is a butchered mess. After Disc 1 is when the plot gets strange like a fever dream. Plot twists happen left and right after Disc 1 without any rhyme or reason. Very little is explained and many twists are too convenient. Seifer is introduced as Squall’s rival and Rinoa’s original love interest, but then he inexplicably turns evil. In no dialogue or plot points do we ever learn why Seifer switches sides. None at all.

There’s a particular interesting fan theory that actually makes infinitely more sense than the story that Square gave us. Here’s a hot tip – when fan theories start making perfect sense, you probably didn’t write a good story.

The best part of Final Fantasy VIII is actually Laguna Loire. Throughout the story, Squall and his friends pass out for mysterious reasons and you are introduced to Laguna Loire and his two buddies, Ward and Kiros (who are reminiscent of Biggs and Wedge from Final Fantasy VII). They partake in events set in the past. Laguna Loire hearkens back to the pre-Final Fantasy VII heroes – heroes like Bartz and Locke. He’s funny and charming. I wish the game was about him and his friends instead of angsty Squall and his cardboard friends.

 So, for four discs you play through these parallel plots and then they merge by the end. The payoff isn’t so amazing. I expected something better. Time travel is involved, albeit in a way that doesn’t make sense. Time compression! The ability to compress time into a singularity because . . . because why again? I guess you don’t have to wait for the next season of Game of Thrones anymore. Is that what that means?  

Other notes I want to mention – Balamb Garden is an awful, clunky airship and the world map is the least interesting world map in the entire series. The only remotely interesting place is Fisherman’s Horizon.

 Final Fantasy VIII’s story is the second most radical departure from the series, the first being Final Fantasy X, which I will get to later. However, Final Fantasy VII lacks any meaningful depth or existential crisis for its main character to explore. There’s no grand critique on the meaning or life or anything like that. There’s one slight existential question that Rinoa faces near the end but it’s practically nothing. I admire what they tried to do but it fell flat on its face. It’s dull and insipid with its characters and the plot doesn’t steer in a clear direction.

Overall, I admire what they were trying to do by adding time travel to the story. But it became such a warbled mess that it failed to deliver. They took all the cool parts of Final Fantasy VII but didn’t bother to give them depth.

Music:

The music is the biggest highlight of Final Fantasy VIII. Laguna Loire’s battle theme is sexy as hell. It made me so sad to return to Squall’s timeline, because I wouldn’t get to hear that music again for a while. The world map theme irritated me. It has a jingle that didn’t jive well with wandering around. It probably also didn’t help that the world map is dull to run around in.

The game’s theme, Liberi Fatali, is damn epic. Liberi Fatali does have actual lyrics but the famous lines “Fithos lusec wecos vinosec” is actually nonsense. Maybe that nonsense reflects the nonsense that is the actual story. It would have been nice if they had actually incorporated those words into the story somehow, like some magic spell like “abracadabra”.

The love theme is Eyes on Me, performed by Faye Wong. It’s the first time that Uematsu composed a pop song for a Final Fantasy game. Its lyrics are nice and of course fitting for the love story. I like hearing it.

There are no other character themes in this score. The focus was all on Squall and Rinoa having their silly angsty romance.

The final boss theme is actually one of my favorites. It starts out eerie with the chorus singing “Fithos lusec wecos vinosec” but in this drawn out, ghost-like manner. Then the music picks up sounding like a typical Final Fantasy battle theme, then goes crazy from there on out.

Notable Score:

Liberi Fatali.

 Verdict:

My least favorite Final Fantasy game. I would place it right at the bottom tier. The story is absolute gibberish. The gameplay could be fun once you wrap your head around it, which I didn’t and so it was a pain in the ass for me. Finding all the Guardian Forces can be fun. Laguna Loire is the best part of the story, and that’s really it. At the end of the day, probably put this one off until you play the better, more important Final Fantasy games. You are not missing anything if you never play this game.

Direct Sequel?

No.

Keep it that way.

[transfemininomenon]

short answer: its a bad game

long answer: okay sit down i have so much to say about this game and full disclosure inevitably a lot of this is going to come to My Personal Opinion and ALSO full disclosure that i have not ever actually Finished dark souls 2 because ive on two separate occasions gotten half-way through and then given up because i just was NOT having fun FUCK shrine of amana piece of shit awful god damn fucking area what the FUCK were you thinking with that area with its heat seeking magic missiles and water and random holes in the world and millions of enemies an 

its basically divided up into a few different sections - presentation & theming, quantity vs quality, how difficulty is handled in the game, and the gameplay itself, and how they all kind of go hand in hand with each other 

on the subject of presentation & theming, THE big thing when it came to dark souls 1 is that the world is oppressive, dark, and Difficult. the difficulty of the game is put right into the theming of the game in that its a hard game while the WORLD is a shitty and difficult place in the story. but on the back of that is another theme which is that of yes the world is oppressive and bleak and feels hopeless - but you keep going Anyway and no matter how insurmountable something might feel you can and WILL defeat it

this is further built into the game through the covenant system as well as summonable npcs for boss fights. the game not only says that its okay to ask for help if need be, it actively encourages & rewards people for helping others with the covenant system. its not just a game that is Hard - its a game that’s scary and difficult and dark but also actively encourages you to seek help and to also BE the person helping others survive in a seemingly hopeless world. and that triumph of finally getting past something you were stuck on for so long feels SO good and becomes worth all the trouble

dark souls 2, meanwhile, buys right into the “dark souls is HARD casuals get OUT” mentality. literally the intro cutscene to the game is like “man youre gonna DIE youre gonna DIE so MUCH and youre gonna lose all your SOULS and youre gonna be so MAD”. in contrast with the original dark souls’ opening cutscene which establishes the base lore/story of the game while introducing different characters & future boss fights, the opening cutscene of dark souls 2 does nothing beyond “haha ur gonna be so MAD” 

and it just really kills the vibe Immediately for me. it no longer feels like a really interesting story about overcoming adversity through determination and struggle. it just feels like well i gotta prove im Good and Kill The Boss 

then there’s the issue of quantity vs quality. when it comes to both zones & boss fights, dark souls 2 by far went for quantity when it came to them and the actual quality of both suffered a Lot as a result. like, there’s a LOT of zones and boss fights in dark souls 2. a LOT. and yet i genuinely currently can, off the top of my head, remember around 5 by name, and none for any Good reason. a lot of the zones just end up blending together because there’s SO little actually memorable things about them 

and the exact same is true with the bosses. many are reskins of bosses from 1, very few actually have much in the way of interesting mechanics or good design, and a lot of them are just so Easy. without even really trying when i was doing my attempts at the game id end up defeating some bosses in something like 10 hits without ever taking much damage. much like the zones there’s very few bosses i can even actively remember because they’re just SO unmemorable and boring. the bosses that i DO remember are only because they end up just getting reused as normal enemies, sometimes as quickly as the VERY next zone

which this ties into another one of my big issues which is how the game handles difficulty. when it comes to others games in the series the difficulty comes in ways that, while they may be frustrating sometimes, almost always at least seem Fair. if i die its PROBABLY because i fucked up, whether it be mistiming an attack, anticipating the wrong enemy move, or rushing into a situation im not prepared for. most of the time i die and i go yeah, okay, i see where i messed up, and that lets me bounce back in and do it better

the difficulty in 2, on the other hand, more often than not comes very cheaply. a big issue i have long complained about in terms of area design is there’s SO many random holes in the world for you to suddenly fall into, including a number of bosses where this is the case. then rather than having enemies actually have interesting or different moves to them the game tends to either send swarms of enemies at you or have them appear out of hiding and ambush you. very little when i die in that game do i ever feel like it was because i actually did something wrong and it always just feels cheap & unsatisfying 

this is then weirdly paired up with bosses being so lackluster where most of them are just SO easy and require such little thought that even defeating those doesnt even give a big sense of accomplishment. there’s just so little Satisfaction to be gained from the game and SO much frustration 

THE big thing with all of this is that all of those above three things i could forgive if the game itself was at least Fun but it just........... isnt to me. the game itself constantly feels SO clunky and slow, even compared to earlier titles - like demon’s souls of all games feels Better to play than dark souls 2 does. i never feel like i have the level of control with my character that i do with the other games and combat feels awkward and just in general not very fun 

enemies tend to have really weird timing with their attacks, rolling feels weird, and it could just be the weapons ive tried in the game but none really ever feel Good. i tend to in soulsborne games go for Big Sword (except in bloodborne where i tend to move more toward dex builds on account if it being the one games where i actually Get parrying) and not even the act of swinging a Giant Sword around could ever make me happy in that game

exploration isnt fun because the areas arent interesting and the bosses suck................ it isnt fun to fight things because the game doesnt feel good and the difficulty always feels cheap.............. the theming isnt interesting and there’s nothing about it that draws me in or inspires me like various themes in the other games.................... its just overall nothing i really am interested in or want in a souls game and when the OTHER ones give me that in their own different ways there just really isnt any reason for me to want to play that game 

this all isnt to say there arent aspects of dark souls 2 that i DO like - majula is a VERY good hub area and only beaten by the nexus on my list, and Lucatiel is my favorite character & storyline out of anything else in the whole series. she’s such an interesting and tragic character and her storyline better showcases the undead curse and the reality of how Terrifying and sad it is than any other storylines in the other games and its VERY good 

those arent enough to make up for the issues i have with the game though so im going to long say that dark souls 2? sucks 

[baconpal]

Bravely Default and BD2

Here it is, the partially prompted bravely default rant/retrospective/whatever the fuck!

With the announcement and demo of bravely default 2 out now for a bigger market than the original game ever had, I feel that as a massive fan of the original I should put some amount of effort into explaining what the appeal of the original is, why bravely second missed a lot of the appeal, and why bravely default 2 has been very, very worrying so far.

If you care about any of that, come on in and I'll try to actually avoid spoilers this time and make this a more legitimate recommendation of a game than usual.

THE APPEAL OF BRAVELY DEFAULT The games obviously have a beautiful art style, especially when it comes to the backgrounds. Every city is like a painting, a beautifully composed shot that you see from just one direction to give you one very strong impression. While the overworld and dungeons are fully 3d and do not have as strong of an artistic impact, they are still very competent and have good colors and cohesive elements. The character design, including the job outfits, the monsters, and all the villains are just top notch. Simple, evocative designs that make the most of the 3DS' limited hardware and build upon the teams skill in making handheld games look good. (its the same team that did the ff3 remake and 4 heroes of light, which looks absolutely kino on original DS) The music is also consistently excellent, with great use of motifing, a full and varied orchestra, and many good slow paced tracks for most of the non-combat segments. Shit like "Conflict's Chime" being the main battle theme, "Infiltrating Hostile Territory" being a common dungeon theme, and "That person's name is" as the rival boss themes makes even the seemingly repetitive songs a constant joy to listen to.

The story is pretty decent, it's not the best part of the game, and there are definitely some aspects of the story some people loathe, but the characters (specifically ringabel fuckin love him) are pretty good and the make for an enjoyable experience. The side material like D's journal are really well done and integrate into the main narrative well for how tucked away and ignored it is.

The gameplay and systems are also some of the best of any RPG I've played, and I've played far too many. The job system from ff3 and 5 is brought to an even greater depth with the addition of universal job abilities, allowing any character of any job make use of another jobs features to create an endless depth to strategy. The way various jobs can mingle together, and how no job is completely perfect on its own makes for very compelling team composition and unit design. The extensive amount of jobs helps as well for replay value and for assuring that no easy winning strategy is found by all players.

The BP system makes battles take on a very unique pacing as the player and enemies can choose to save up turns or blow them all at once to make more complicated strategies possible, or to make the most of an enemies vulnerabilities. This powerful option gives the player a meaningful way to capitalize on their knowledge of the game, while also allowing them to make truly detrimental mistakes. That may sound not good if you're a fucking baby, but nobody wants an RPG you cant lose, but losing because you fucked up is much better than losing because the enemies are just stronger than you or anything to that effect.

But the single greatest part of bravely defaults, which creates the games wonderful balance and unique design philosophy, is that the player is expected to hit the level cap long before finishing the game. Reaching level 99 should occur somewhere just after the middle of the game, at the point where the player has access to almost every job and has encountered almost every type of threat. Reaching level 99 brings with it a certain security, the implication that from then on, all enemies will also be level 99, and that any failure to defeat an enemy will be a result of a bad strategy or the players own mistakes. The game is not easy, and is certainly intended for veteran final fantasy players used to the games with job systems and changing up your entire party to combat a single encounter. Leveling up is not a slow grind part of the game, as you have a lot of control over the speed and frequency of battles, and it is not difficult to keep up with the games level curve.

The other layer to this unique design is that the game expects you to "cheat", or use strategies that would be overpowered and frowned upon in most other games. Bravely default easily expects you to know or discover strategies such as: applying a status to all enemies and killing every enemy with that status using another spell, cycling a counter move over and over to have a nearly invincible party member, applying a healing attribute to a self-damaging character to get huge damage at little cost, casting reflect and dangerous spells on your own party to bounce them at the enemy, or duplicating a move that does maximum damage 15 times in a row. The game builds all of its encounters with the knowledge that your team will be the maximum level and that you will be using the most vile tactics you can come up with, and the game will do the same. Bosses and even common enemies will employ equally vile tactics using the exact same moves that you have access to, meaning you can learn from your enemies or quickly grasp the enemies strategy through your own experiences. One of the late game dungeons is entirely optional, but involves several fights against parties of 4 just like your, using the same jobs and skills you have gained during the game as a perfect test of your ability to develop counter-strategies, instead of relying on your own overpowered tactics. This type of design is really not something you find in many games due to the prominence of grinding or the lack testing strategies, and it is the most true appeal of bravely default to me.

BRAVELY SECOND EXISTS I GUESS So bravely second, a direct sequel to bravely default, definitely is a video game. It uses the original game as a base to generate more content, but completely misses the appeal of the original, and the new content added makes the experience even less focused. Overall, it's still a fairly alright RPG, but it fails to follow up on bravely default in a meaningful way or to provide as compelling of a gameplay experience. Here's some of the things it fucked up.

The game reuses almost everything the original game had, including the same music, world map, and most of the original's towns and dungeons, while adding a few of it's own. Going through areas you've been before never feels good, and the new areas lack the quality or brevity of the original game, leading to uninteresting areas that overstay their welcome, despite being the only break from repetitively reused content.

This extends to the classes but in an even worse sense. One important trait of the original jobs is that they were not perfect by themselves. While every job provided some useful abilities to be shared with other classes, or provided a good base with which to make a character, no class was without flaws. The new classes in bravely second are a lot of the opposite, they are closed loops that think of everything they could have to make a good standalone character. The 4 starter classes you get in bravely second are all brand new, and there's almost no reason to use any class besides those 4 as they are just insanely good. The priest and magician specifically augment magic in a way that makes spells infinity scalable into the end game, completely trampling on any other magic classes territory without needing the extra effort of grinding a new class out. Many of the new job concepts are actually really interesting, like going back in time to return to a healthier state, or a class that changes the stats and attributes of all units in a battle, allowing for all new kinds of strategies; but these classes lack any opportunity to be used to their full potential since they don't mesh well with other jobs and are limited by their self-centered design.

Another completely missed aspect of the original is the level curve discussed before. Bravely second only really requires you get somewhere in the ballpark of level 60-70 to comfortably beat the final boss, and getting too leveled up is really hard to avoid if you are plan to try out various jobs.

Second also fails to account for how many incredibly strong strategies the player can come up with, and even introduces some of its own strategies that it has no way to counteract, such as halfsies (the first skill the first class gets) pretty much splitting the game in two by tripling the value of items like phoenix downs, and allowing for fool-proof strategies by making 1 character focus entirely on defense, effectively making the party unkillable. Essentially, if you play second after having played the original (like any sane person would) then you will absolutely destroy the game with no sense of satisfaction.

The story is also a large step down, enough to become an annoyance, as the writing style changes to a strange romantic comedy situation with, for lack of a better term please forgive my sin, anime writing, but like bad anime writing, ya know the kind of shit that makes people write off all anime cus a lot of it is awkward and unpleasant to listen to. The story tries to mess with some big concepts like "what if new game + was a real thing???" and time travel and shit like that but it doesn't mesh with the tone the rest of the game has and that tone doesn't mesh with the world or art style and it's just a mess.

BRAVELY DEFAULT 2 SEEMS KINDA POOPIE SO FAR So unfortunately, the big appeal of bravely default being part of it's end game makes it hard to judge how 2 is gonna go given we only have a demo of the beginning, but given that the original team behind bravely default has slowly been stripped out of the series as it goes on, the outlook is bleek.

Most immediately obvious is that the artstyle has made a horrible transition from handheld to console, somehow even worse than pokemon. The areas are all fully 3d and lack the style or compositional excellence of bravely default, and the outside environment look like asset store products. The small proportioned characters with simple features to be readable on a small screen have been replaced with identically proportioned characters with excessive detail and ugly features, and look horrible up close on a big screen. Only the negatives of the art style have made it over, and everything good has been made unsavory. The character and enemy design overall is much worse as a result, everything is messy, unclear, and clashes with everything else. It's an absolutely shocking downgrade.

The characters themselves are overly hammy and feel like shallow attempts to have a similar party dynamic to the original without having identical character types, and the writing as a whole doesn't seem to have improved from second, which was already quite a step down from the original.

The gameplay also has not done anything different or interesting yet, and seems to be selling itself to people haven't heard of or gotten enough of the BP system. Enemies being on the overworld as opposed to random encounters shows they have dropped the player agency over encounter frequency, which is dumb. The battles lack any of the flow the original had, especially when using the battle speed option, as the camera does not present everything very well and changes position often as a result. Overall, I have not enjoyed the bravely default 2 demo and feel it shows nothing but a continued decline in the series that likely should have just been a single game. With the release date being set for sometime this year, I feel there is no chance any amount of player feedback could save the game or even begin to pull it in the right direction, as it seems to be fundamentally flawed with an inescapable feeling of shovelware.

SO WHAT? Basically, all I wanted to say here is that the original bravely default is a very unique experience I think every RPG fan should give a good chance (and just do all the optional stuff during the "repetitive" part of the game, it's where all the best content is you bozo) and that the sequels are NOT the same experience. I guess it's kind of mean to just say "hey don't buy or like this new thing cus its not like the old thing" but people should know why there's a bravely default 2 in the first place, and should fight for what made the original great. I worry that BD goes down the same sad path that FF did, becoming a completely hollow, middling series that strayed so far from it's home that a whole new series had to be made to give the fans of the old style a place to go.

Thanks for reading, and hope you got something out of it.

[neokad]

Lost Sphear review! - I Am Setsuna: the sequel!

I am finally back from being... honestly much lazier than I should have :P In my defense! The reason why I haven’t started writing this article just yet is because I became addicted to the game I’ll be reviewing next~ But to be honest with you all - and I’ll jump the gun a bit as well - this game... well, it’s honestly a bit hard to write about it for me ;-; I might as well get the basics out of the way though: Lost Sphear is a JRPG by Tokyo RPG Factory, which you may know for being the devs of I Am Setsuna a few years ago! Sadly, both games have gathered a pretty mixed reception from both critics and players. I personally adored I Am Setsuna despite some of its issues, due to how unique it was in many aspects, so naturally I was really hoping Lost Sphear would be a magical experience that would polish some of the flaws of IaS

And... I think they did too good of a job at that.

First off, for those who did not play IaS, let me tell you first that you absolutely should, especially since it’s decently short, at around 20 hours! But if you did not and don’t plan to, there is no story connection between two of those games - although some enemies and assets are reused in LS, and the battle system s largely the same. In fact, let’s start with that! I am very relieved to say that combat in LS is possibly even more fun than ever! It still uses the same base as in IaS, as you still have a normal attack command, as well as skills that can be physical or magical special attacks, as well as special buff and debuff skills. Y’know, typical RPG stuff. However, just like in IaS, this otherwise very simple combat is complemented by the absolutely lovely Momentum mode, which is a bar separate of your normal Active Time Battle bar. It fills up whenever you complete an action OR wait before you choose a command. If it fills completely, you can store a special orb tied to that character (up to three, in fact), which you can then activate along with an attack/skill for extra damage or effects if you can time it right! This mechanic is in short, AMAZING. It makes you think about when to use that extra boost, when to attack enemies or use skills, and the fact that you need to time it makes battles very engaging!  But keep in mind, all of this was also present in Setsuna, so how did they make it better here? Well, Lost Sphear actually allows you to move your characters around the map when battling! This allows you to place them to avoid attacks, as well as hit enemies as efficiently as possible! LS also introduces Momentum Boosting, which allows you to customize whatever skill you chose to put on your party member with special effects, like healing or elemental damage! Those two changes, while it makes experimentation and battling even more satisfying, does make regular battles even easier than in IaS - though you CAN make the game harder in the settings at any time if you find regular battles to not be exciting enough! That, and the bosses are usually decently strong anyway :P

Another notable feature are the Vulcosuits! These are a new combat feautre you obtain relatively early in the game. While using them spends some pretty limited VulcoPoints, it does boosts your stats, and most importantly allows you to perform special attacks either alone or with a party member (and you can have up to four of them in a battle instead of three now!) This is a pretty cool system, and I’m glad that they incited you to not overuse it by limiting the VPs you can get. But sadly it also makes so that you cannot do combo skills with a partner like in IaS, which I always thought made battles more fun and strategic too ;-; If I’ll fault LS’s gameplay somewhere else, it’s how it had a tendency to spare you of checkpoints sometimes. It’s not a very constant issue, but I sometimes had to fight a boss after not having a save point given to me for minutes - and it made me lose 40 minutes of progress once, so that was fun :/ But besides this and a couple of annoying bosses, I can say that the gameplay in LS is overall better than its prequel!

Sadly, gameplay isn’t what’s the meat and potatoes of any JRPG, so what kind of setting are we dealing with this time? Well, this is where I think Lost Sphear starts to fall flat. After a mysterious flashback sequence, we start off in the small village of Elgarthe, where we meet with Kanata, Lumina and Locke (no, not the treasure hunter). As we do, a strange phenomenon starts to occur, where we see the entire town being enveloped in snow-like mist, which translate to the town being “lost”. Curious to see why this even happened at all, our main trio, which is quickly joined by the strange, emo Van, set out in an adventure to not only find out more by visiting the capital of this game’s empire, but also to restore whatever lost things they come across. Why? Because Kanata - for reasons I will not go into - has the ability to make things return to how they are if he has enough connection/memories tied to them! (As a side note, you can even gain some stat bonuses/effects of your choice by restoring specific points on the map This setup is decently interesting, but to me? I feel like it’s not enough to really keep me engaged ;-; It’s certainly not bad, of course not, but I found it a bit boring and cliché at times to be honest. Without going into specifics for spoiler reasons, it’s a lot of “the empire is bad” and “we can save the world” and “we’re the good guys”, which while not horrible plot devices, aren’t very engaging either.And that same point extends to the characters as well ;-; I do think some of them are quite good, but even then I did not really fall in love with anyone, like I usually do in most RPGs I play, which... well, sucks. There is a few characters with neat backstories and events happening to them (such as Van, Galdra and Lumina) but overall even these three just didn’t have enough to them for me to become attached ;-;

And welp... this goes true for the music and art of LS, too. Now, I wanna say that the soundtrack to Lost Sphear was actually pretty good overall! Just like in IaS, the village themes are beautifully peaceful and relaxing, and the battle theme has a nice ring to it as well, to give just a few examples. And this time, the composer actually learned the existence of instruments other than the piano! However, I do think that the minimalistic soundtrack for IaS was a lot more memorable overall - not just for how much it stood out for that reason, but also because I think the compositions themselves were just a bit more memorable ^^ But I get that most people prefer variety, and music taste is pretty suggestive anyway :P And I also get that a more standard soundtrack - which is still good, mind you! - would fit better in a less unique world - and speaking of...

The world of LS is a lot more typical of what you would find in a RPG - you’ve got your remote villages, your massive empire city, your port areas, and so on, all presented in a grassy setting. I know this is a very strange statement to point out, but despite Lost Sphear having some very pretty shots from time to time, I really feel like it matters when you compare it to its ancestor. One of the things I loved about IaS was its snowy, setting, which blended perfectly with the minimalist piano soundtrack to create a breathtaking atmopshere. And while what’s there still works - and is much more varied for sure - I feel like a lot of the soul was lost in the atmopshere given to the player. And honestly? I think this sums up the game very well.

Lost Sphear is a good game. But that’s exactly why it was so disappointing to me. It’s just “good” and ultimately forgettable. IaS, while not perfect, blew me away with its charming cast, beautiful music, breathtaking setting, unique story and fun battle system. And while that last part is still there and mostly improved, this game, by being so much more by the books, is not nearly as interesting ;-; The story is fine, but I do feel like I’ve heard most of it before. The characters are okay, but they just don’t do enough to be nearly as likeable as I want them to be. The graphics and audio are both solid too, but again it’s just not the same. Don’t get me wrong, Lost Sphear is a solid time. But as far as RPGs go, I feel like the player should be impressed, and LS... just doesn’t do it. I definitively recommend going through I am Setsuna first <3

Rating: 7.2/10

[ghoste-catte]

⭐️ for You Love A Stone please? About anything!! :D

Aaah yay!! You Love a Stone is probably my favorite or 2nd favorite thing I’ve ever written, so I’m super excited to have a chance to gush about it. 

My original framework for the story was always 3 parts, based on the Okkervil River song, “A Stone”.  I originally stumbled across Okkervil River in a record shop in my hometown. I picked up the album Black Sheep Boy out of the pre-owned CD rack because of the cover art and the lyrics booklet, despite knowing nothing about how the band sounded, because something about the art just ... spoke to me and who I was at the time. A Stone quickly became a favorite of mine, because, while on the surface it’s about loving a girl who’s still in love with her dead boyfriend, in many ways it’s about loving someone who’s out of reach, or incapable of love. Maybe TMI, but especially as a high schooler, that was a notion that was really evocative to me ... I remember a lot of late nights, driving home in the rain, taking the corners on the rural back roads way too fast, scream-crying along with these lyrics, because I didn’t think I was someone who was capable of love. (I’m okay now. Therapy is a good thing.)

But anyway, I’ve been obsessed with that song for like ... well over a decade at this point, and it always seemed to me like something that could be spun into an AU, even back then. I just didn’t have the mental space to do the idea justice at the time. My original idea honestly was something to do with Sakura or Hinata, because of the whole “princess who turns away all her suitors in favor of a vagabond who left her one rose” thing, but then I sort of hit my fanfic niche and the ultimate concept became GaaLee. 

The first draft of the fic included the characters having magic abilities in each setting, something that I’m glad I left out, because I like them better as just ... ordinary people, going about their lives, and the only aspect of magic being the reincarnation cycle. For example, in an early draft of chapter 2, Lee met Gaara because he was showing off with magic sand as part of a courtship ritual. Likewise, in the final chapter, Gaara pulled Naruto’s chair out from under him with sand, rather than his foot. The mundane magic idea ended up spun into Heliotrope, another fic I wrote around the same time. 

The original conceit also was a lot more Western-centric. The middle chapter, which ended up set in the Edo period, was much more a kings/queens/castles Western medieval fantasy-type deal, but I had been reading a lot of meta about the ... Americanization (?) of anime canons in modern AUs, and so I ended up deciding to stick with a Japanese setting. I’m glad I did, and I think the fic is stronger and more unique for it, but oh my god did I end up having to do so much research. I did not know really anything at all about Edo Period Japan outside of like ‘samurai were A Thing’ prior to sitting down to write, so every time I had a thought about a sentence, I then had to think through: Okay, but is that something that feasibly would have happened? Is this breaking some major cultural mores I don’t know about? There’s probably still some of that in the fic, but hopefully there’s less. For example, in the original draft, Lee was a Buddhist monk instead of a Shinto priest, but monks have a lot fewer things they’re allowed to do and I didn’t want to go the whole ... religious figure breaks his vows for gay sex angle, because that felt kinda disrespectful. Finding information about Shinto funeral rites was especially challenging, because in modern-day Japan funerals are completely Buddhist in nature (Shinto priests aren’t supposed to deal with death because it’s unclean), so I ended up going deeeep into the literature to find historical accounts of Shinto funerals pre-Meiji Restoration. Thank god for Google Scholar. 

Likewise with the last chapter, my original thought for a modern AU was that they would both have grown up in foster care, and I intended to have them meet at something like a disciplinary/behavioral ed school. I thought this would be much quicker and easier for me to write, because I’m very familiar with the American foster care and educational system. Turns out, after a bit of research, that there really isn’t anything like the American foster care system in Japan, there’s mostly state institutions and kinship care. So I ended up having to scrap basically my whole first draft of the third chapter and rewrite it from the ground up to fit an institutional setting. Fortunately this wasn’t quite as much of a jump as from Western medieval setting to Edo-period Japan, but it was still a lot of revision. I ended up watching a very interesting short documentary and reading a ... 200-something page Human Rights Watch report about state institutional care in Japan (You can read it here, warnings obviously for child abuse and neglect) before I felt comfortable proceeding. Little things that bring a story to life, like what kind of flowers bloom at a certain time of year, what the temperature is like and how the air smells, what people eat and what they wear, are really important to get accurate or close to accurate, so I’m always looking for little things like that, and first-hand narratives and video are a great way to get those little details. I also read and watched a lot of material about homelessness in Japan, runaways, and emancipation. It was surprisingly hard to find information about people who don’t follow a typical path of high school -> college -> working a white-collar job, and I had to flex my (very rusty) Japanese skills to turn up some of the material. 

Lee in the final chapter was really an interesting challenge to write, because he was so much more wounded than Lee is in canon. A big part of my decision to write Lee this way was based on research into Adverse Childhood Experiences (ACEs) and resiliency. In canon, Lee goes through a lot of hardship, but he has a mentor--Gai-sensei--who insulates him from a lot of his trauma. Research shows that children who have just one “safe” adult figure in their lives are much less likely to suffer the adverse effects of childhood trauma or to grow up to have PTSD. In the modern AU, Lee doesn’t have this, and he’s grown up without a single stable adult caregiver, just a rotating cast of paid adults.This is why he calls Naruto and Sasuke by their last names, because it doesn’t feel safe to him to become their friends, despite ostensibly knowing them for years. Gaara, on the other hand, is the more open one in the final chapter--after all, he grew up in a relatively intact home until recently, despite the abuse--and that’s why he befriends them and calls them by their first names, because he doesn’t have the same walls up.

Lee also has symptoms of ADHD and dyslexia in chapter 3. I often write modern AU Lee with dyslexia, because it seems a good allegory for his canon disabilities, in that it means he has to work much harder to do the things that his peers take for granted, and some of them he can’t do at all, which makes people think he’s not as smart as he actually is.

Thanks for the opportunity to talk about this fic! Like I said, it’s probably one that I hold closest to my heart. Sorry about the length!!

Ask me for the Director’s Cut of a specific story/scene/set of lines or send me a star to have me give a behind-the-scenes peek into a story of my choice!