#more than just mechanics or flavor: what does it express about a character and by extension what does that player use it to express

[warderfromtheborder]

This realization hit me like a free-falling elevator and I think it has irreversibly rewired my brain

I am a Medication Pact Warlock, and that has made a huge difference in my life, learning how to gain proper autonomy and a meaningful adult life. But I've also neglected my ability to really strengthen my important relationships. I've had a couple of very abusive relationships (one family, one work) that left some very painful scars, but I'm not going to keep hiding from who I am and what I'm good at, and what joy I can bring to other peoples' lives.

And of course! Sliding in there like it's nothing, just dropping a piece of profound psychology, and hitting my brain like a hammer:

"There is no agreement we are more likely to break than one we have made with ourselves."

You can't give that out for free man therapists charge hundreds of dollars an hour to give out truths like that.

[defectivehero]

dialogue

Sometimes, I hate dialogue. Sometimes, I love it. Will I ever be perfect at it? Absolutely not. Are there a few things I've learned as I write more dialogue? ... Yes. Here are some of those things:

[as always, no pressure to use any of these tips. writing doesn't have a "one size fits all" formula.]

Conversations aren't always super smooth, equal exchanges where everything is reciprocated. Sometimes, individuals cut each other off. Sometimes, one individual is doing most of the talking while the other is mostly listening. Think about your characters and what is unique about them. Then, embrace that in your writing! Things like: a) answering questions two paragraphs later, b) dodging the subject and then coming back to it, and c) saying one thing but meaning another are just a few examples of ways to liven up dialogue. If a character is super energetic and eager, they may dominate the conversation (unknowingly or knowingly). If a character is more withdrawn, they may pause before speaking, speak in smaller fragments, or elect not to speak at all. The unique personalities and circumstances of your character can show through in dialogue.

Consider more than just the dialogue. This is probably my favorite thing to do, because sometimes, I just can't get the words to be perfect. And that's okay! Often, a sentiment is better portrayed through a description of a person's body language—think of gestures, facial expressions, etc—than through written dialogue. Think about a character who has gotten sick as an example. There's two ways you can approach their dialogue: 1) focus on the words they're speaking and use descriptions as accessories, or 2) focus on their body language and use dialogue as an accessory. I often find myself thinking that dialogue has to be the main focus, but it doesn't! For the sick character example, I try thinking about how they look and how they may feel. Often times, those kinds of things can also inspire dialogue! In this case, the sick character may: speak with a more raspy tone; have trouble getting the words out; have an interrupted flow of speech because of sniffles or coughs; shiver with cold or sweat; or have a hazy look to their eyes. Details like these often take away some of the pressure I put on myself to have the perfect dialogue.

Dive into the mechanics of the person's voice. Is their voice raspy, gravelly, deep, high? Is there an underlying emotion showing through? How about the volume—are they speaking loudly, softly, or somewhere in the middle? Do they accentuate their statements in a certain way, such as breaking their statements up into shorter phrases with pauses in between?

Think about the setting. I say something along these lines in virtually every writing tips post, but I think the setting is super important and a great way to add some flavor to a dialogue. Where are your characters? Is there anyone nearby—and if so, how do they respond? Do the characters drop to a whisper to avoid eavesdropping or do they carry on as normal? How about the place where the interaction occurs—is it traditionally loud, quiet, or somewhere in the middle? What time of day is it—does the conversation take place in the early morning (think raspy voices from sleep) or late at night (quieter to avoid noise)? Perhaps it's in midday, but the surrounding area is a street bustling with activity?

Explore the context behind the interaction. Why is the conversation occurring? Is it a purpose or task-focused interaction? Is it context-specific? Are there certain elements of language that can only be understood by certain people (think inside jokes or language specific to a place/occurrence)? Also, evaluate the importance of the interaction taking place and go from there. If you're stuck on a part that isn't necessarily inherent to the story (which I usually am), consider shifting to description instead! You can also use dialogue to reference past occurrences, if that makes things easier. Think of a character getting home from work and speaking to their partner. Their partner asks them about their day and the character explains it: "My boss said..." In this example, you would be able to bypass writing the actual interaction between the boss and the character, and instead introduce it to the audience through the character's retelling of it.

I hope these help! Sorry if they're confusing—dialogue is definitely difficult! Each writer will have their own process, and I'm not claiming that mine is picture-perfect.

[lynxgriffin]

Do you think the monsters are more physical or at least made of something different in deltarune? Unlike the monsters in undertale, the monsters in deltarune don't seem to use magic and are able to handle determination.

Right now, I actually do think that monsters are physical beings in Deltarune, and that their souls really aren't materially different from human souls. There's just way more evidence towards this than towards the idea that they operate exactly as they did in Undertale.

The evidence that they're magical beings:

One monster asks Kris what it's like to be made of blood

The just...assumption that things work the same as how we already know them

The evidence that they're physical beings:

The pointed change of flavor text in Toriel's kitchen, showing that she does not cook with fire magic

Noelle talks about wishing she could use cure magic for Rudy, indicating that that idea is just fantasy for her

Catti talks about learning occult spells, meaning she views magic not as a natural expression of monsters, but as something learned...the same way we look at magic

Susie feels comfortable talking about blood a lot, to the point where it's suspicious

The monsters eat normal food and have normal physical ailments; Catti's father talks about the family having to get their stomachs pumped when they ate oranges, since they can't have citrus

Queen brings up determination as something that "all Lightners possess," and is primarily focused on Noelle using her powers to create a new dark fountain. This seems to indicate that monsters have just as much determination as humans, and that determination is not even relevant towards the same powers it is in Undertale.

And most importantly, the fact that monsters were made of magic and as a result had significantly weaker souls in Undertale served a purpose both storywise and gameplaywise...it made humans immensely stronger than monsters, which enables you to go through the Underground killing them even as a little kid, and is also a huge contributor to important character and story elements.

However, Deltarune is a different story with different themes, in a different universe. There doesn't seem to be a material need for monsters to have that physiology in Deltarune...the major themes are about the differences between Lightners and Darkners, not humans and monsters, after all. So it follows for me that the mechanics are very different here.

[meirimerens]

hello my friend [writing this with typewriter and sending it via snail mail, takes 5 months to arrive by horse and ship] i saw your message about videogames as a format Comparatively resonating more with you than tv shows... and it got me curious if you have had any experiences (?) with [or opinions about] visual novels / twine games?

[asking because i feel like i've heard wildly different experiences from people... some people like em... some people don't... some people have had random experiences with one that really left a mark... It's really very subjective.]

[receives this message through a horseback carrier à la 1860-1861 pony express] a missive...!

ok so my #experience with VNs/interactive novels/twine games is. not really hard to explain but maybe hard to understan. basically i've played a few during the ages 14 to 17, but it's a period of time where i was Zoinked on meds so i remember very little, making it so i remember playing VNs & twine games, enjoying them, but i couldn't tell you which ones, or anything of the stories. which is both kinda really disheartening but also i'm kinda glad because if i were to find these games again now, i could n a way re-experience them with all the love i now have for the genre :,)

i'll tell you this: i remember really, really liking those i played. i think it comes from the fact that at my heart i'm a <3 reader <3 i've always been. even when i couldn't read books because of the Zoink + The Symptoms i still turned to things that had storytelling within them, such as movies or games. there are video games to this day which i adore i adore i know all the secrets of but i haven't Played Once: i have just watched LP after LP, but because the storytelling, and getting to experience the game as more of a story than an active, VideoGame experience, have pulled me in so much, i just devoured the thing. i'm a Stories and Narratives Enjoyer, and when i encounter games with stories i adore i've been comfortable with letting the "gamer" part of the experience be handled by someone else, and i sit and absorb the story, the characters, the world... like the little brother sitting on the couch. in that regard, twine games and visual/interactive novels really tap into this part ^ of the videogame experience for me. i understand why many people do not really fuck wit it, because you could argue they take a lot of the mechanisms of actual video game out in favor of a visual or interactive novel, but i, personally, really like the very format.

some of my favorite games that i have actually played have very straightforward of minimal gameplay; for ex. i played ANATOMY on the later end of The Zoink so i remember most of it, but it's not the very simple gameplay that sticks out to me: it's the fantastic concept and incredible writing, that you can read, and is spoken to you. it is like a story that has been given a simple shape, a visual shape, a visual set-scenes in which you can experience the story. patho 1 my fave has a... relatively straightfoward gameplay [7 different asterisks and 10 lines of references and bibliography], but what stuck out to me first, because i first watched a let's play of it which made me fall in love with it was the writing, the impeccable, interminable, verbose dialogue. nobody shuts the fuck up in this game. the classic and wonderfully-timed quotes. i love it. i truly truly love it. it's like a long, long book was given a 3D life. visual/interactive novels and twine games approach this flavor, while stripping even more the 3d elements, giving the story a simple frame.

there is also with the relatively "limiting" format of a twine game, i find some have been able to approach like… ergodic literature/textual interaction, in the same way a book like House of Leaves does with its shape(s) [do not ask me which games, because as i've said. The Zoinkening]. which i love. i do. i adore. it can turn up mixes of ergodic literature in a very like concrete way [if you were to look at pages] remixed through the filter of internet language and coding, and as someone who's. learning to code these days (mostly a lie) i can more and more appreciate the mix of the two.

i think interactive novels strike a balance in me of like. the (mostly-) straightforwardness-of-narrative of watching a show or reading a book and the interactive interface of playing a game, or watching someone play a game [my many theories on why i like the very act of watching someone play a game, but among others is the fact that i experience secondhand interactivity, i see someone else struggling and failing... the Let'splayer is almost themself a hero of the story or a character for who i'm rooting for, and whose action will decide the course of the game... etc]

again i understand why real #gamers might dislike it, because you kinda... take out the "gameplay" element of a "game", but to me, as a #reader because i'm a #writer, it's like a tasty little morsel. in the same way i am perfectly fine with a book or a movie having only 1 ending, i am perfectly fine with a game having a single, or a few very defined endings. it truly makes you Feel like the character following the determined path. also i was a theater kid so maybe it just reminds me of playing a character following my lines LOL!!!

tldr i know why many #gamers dislike the format because you don't have much in the way of #gameplay but as a #writer and a #reader i do love them because i'm a Narratives Lover first and foremost, have adored games i have never played because their storeys are just that good, and i believe the limited format of VNs or specifically twine game can give way to great instances of ergodic literature made for the internet woild. their critique of "it's just books on the screen" is actually what makes me really like em because. reading <3 characters who don't shut the fuck up <3 etc! also kinda unrelated i've been trying for years to make my own twine game but i just think i need(ed) to mature first in my #vision :,). and also git gud at code frankly!

THANK YOU FOR QUASTION...! i loved to think about it again... storeys and narratives :)

[vacantgodling]

you already know who the fuck i'm slamming in here with i'm a predictable ass creature of habit i swear i know more of your bbs but it's comfort character hours atm lmao lemme see if i can give you some rant-worthy ones

8 + 17 for toph

18 + 22 for amon

33 + 48 for hya

AHHH KORBIEEE THANK YOU 🥺🥺🥺

TOPH

8: Favorite indulgence and feelings surrounding indulging

toph has no qualms about the concept of indulgence and encourages it mostly in others, though the ways he does it for himself seem almost “lackluster”. his biggest indulgence is mint flavored things bc he’s an absolute glutton with them LMAO. he also sleeps A Lot even though he literally doesn’t need sleep (being a demon and all) so it’s literally sleep for the sake of doing it which is Peak Indulgence lol. he just likes being cozy fr.

17: Preferred mode of dress and rituals surrounding dress

so toph’s style is in the realm of like… “pretty grunge” ig LOL it’s got tenants of the avant garde, pretty, gothic elements of visual kei/aesthetic alt with the ripped and more chaotic look of grunge. these are some examples of what he dresses like:

he also tends to wear nail polish, heavy eyeliner, and obviously has piercings/tattoos so it just gives him an overall very alternative pff style. which yknow, makes sense being the front man of a metal band so 😂

i guess some of his dress rituals is that he never wears the color green even though green is his favorite color (i’ve drawn him in green before but yknow He doesn’t wear it) because he considers green a sacred/lucky color and he doesn’t want to taint it by wearing it. it’s kinda weird but he’s allowed to be superstitious pff. he also tends to do make up, accessories, and hair first since they all take the longest.

AMON

18: Favorite beverage?

honestly, anything sweet and expensive. he doesn’t think money makes food taste better but he sure does enjoy it more if he knows it’s exorbently priced and someone else is paying for it. it’s less to do with the flavor and more to do with the flex of having hya buy it for him LMAO.

22: Given a blank piece of paper, a pencil, and nothing to do, what would happen?

it really says a lot about him but he’d probably end up ripping it up 💀 he’s a distracted destroyer, so any loose threads or seams or paper, in this instance, he’ll pull at or rip when he’s just vibing. there’s something satisfying about it to him lol.

HYA

33: Concept of home and family?

horrible, terrible, rancid, not worth mentioning. he has no trust for family and no love of it (aloe is a VERY heavy exception but aloe is an angel, how could you hate him?). realistically he distrusts family more than he distrusts a stranger because family, in most cases, knows you AND has something to gain from fucking you over, and it’s been illustrated to him time and time again that family doesn’t mean shit :))) (there is mostly tagetes to blame for this however, he doesn’t get along with iberis, narci and laven for a REASON—tho laven he does become more amiable towards by the time her book ends). ALSO parents???? sham. mix authority and entitlement AND family?? he’s not about it like at all. has zero faith in it whatsoever.

edit;; i forgot to talk about home. he has a very… lackluster concept of home tbh, which all relates to above. he’s never truly felt safe in anything but his own skin which is why how he dresses is in part expression, but also in part defense mechanism for him. being able to buy his own home later in life (aka after paramour) definitely helps him feel more comfortable in it, but he sort of forces himself to be a modicum of relaxed anywhere—or he essentially just bullies his way into people leaving him and the space he’s in alone.

48: If this person were to get into a fist fight, what is their fighting style like?

hya’s a bruiser i’ll tell you that. he Really doesn’t prefer to physically fight because he thinks it’s brutish, a waste of time, and if someone fucks up his appearance he’s going to be whatever level is Beyond Infuriated. but… he is a man that very much talks with his fists. in another life where he wasn’t so pompous (looking at you slum aus), he would absolutely be a force to reckon with. even in canon, he can lay someone out with one good hook because he’s not really about finesse or torture—it’s all the skill points in power baby and he will Lay You Out.

but i have to reiterate, esp in canon, he’s Really not in the vibe to put his hands on people unless he’s positive they won’t reciprocate (amon is a good example lol. he’s punched amon confirmed once and as i write who knows? maybe more).

[pixelpoppers]

Minor design decisions and immersion in Star Trek: Resurgence

I finally played Star Trek: Resurgence, which I'd had my eye on for some time. It's an interesting game in its own right, but also significant as the first game from Dramatic Labs (a studio formed by Telltale Games veterans) and as part of a new wave of licensed Star Trek games during an exciting time for that franchise.

So naturally I'm here to ignore all of that and instead discuss a specific design decision that most people would probably ignore instead of fixating on. (What can I say? You come to my house, you get my bullshit.)

Okay, so. Resurgence is mostly a game about making choices. There are a few other flavors of gameplay including stealth/combat sequences, shuttlecraft piloting, walking around and investigating areas, a handful of minigames and QTEs, and so on. But the core is making dialog choices that have various effects on the characters and the relationships between them.

Correspondingly, those choices are the foundation of the game's achievements/trophies. There aren't any for, say, clearing a combat section without taking damage. None of them are skill-based (except inasmuch as you need to be able to complete all previous parts of the game to reach the particular decision the achievement is for) and I think that's absolutely the right call. Those more-active parts of the game are for pacing and immersion; it'd be weird to turn them into things the player has to master for full completion.

What seems like a less-right call to me is that the achievements aren't for passing decision points, but for making specific choices. Like at one point there's a crisis, both your science officer and security officer have recommendations for getting through it, and you have to decide which one to follow. There isn't a trophy for getting through the crisis: there's one for following the science officer's recommendation and one for following the security officer's. Almost all the achievements are like that. (On PlayStation, there is additionally the Platinum trophy for getting all other trophies; on Xbox, there are additionally three progress trophies for getting through the three "acts" of the game.)

Now, that does mean that a player's achievement list for the game becomes a reference for the choices they made, which is kind of a cool thing to have and to be able to share with other players (though the achievements have pretty explicit descriptions so the list is full of GIANT SPOILERS until you finish a playthrough). But the game's website already provides a mechanism for this, and achievements are particularly poorly-suited to this goal.

By positioning all the alternative choices as items in a completion checklist, the game signals that you should see them all before you can consider yourself truly done. This isn't as obnoxious as it was in Q.U.B.E. 2, because the game is at least about the choices and there is new stuff to see on a replay, though I still think it smacks of insecure design. But it does mean that anyone who replays the game to make other choices and get all the achievements renders their list useless as a reference for their "actual" choices--and it turns those choices from ones that allow the player to express something about their values to obligatory ones that are just checked off a list with no personal meaning. And the more effective the game has been at creating a real-feeling world and characters, the less interested I am in doing that.

(It's the same reason I was so relieved to see that Resurgence didn't have secrets or collectibles. Hunting through all corners of the map to find golden ships or research data would destroy immersion instantly; I was really happy I could just go where my character would go and not worry that I would be mechanically punished for it.)

Resurgence wasn't a perfect game, but it did a better job than anything else ever has at making me feel like a Starfleet officer. I loved the scenarios it put me in and the opportunity to make decisions that best reflected Federation values and balanced protecting my crew with advancing our mission. I recognize that I'm more sensitive to this than others, but I resent feeling nudged to go back and make different decisions that will turn Resurgence from a world populated with people to a series of arbitrary levers to pull.

[inventors-fair]

Important Tips!

Huh? Oh, shoot, that's right. I'm not exactly around for stuff right now, sorry, this is a queued post.

So, uh, I thought I'd say some stuff about what to keep in mind for when you're submitting cards, because I've noticed a couple things that I'd like to pass on.

1. The more effort you put in, the easier it is to talk about your card.

This is something that feels strange to say, because I want to feel that everyone puts in as much effort as they can when they submit. I'm no professional critic, so I'm not going to tear everyone's dreams down and say that only suffering creators are worthy of positive feedback. What I'm trying to say is that it's always better to push for the limits and then dial it back than to push up to the edge and say "good enough."

It's far easier than it might seem to see which cards reach that "good enough" point when they are, indeed, good enough. And goodness is good! What that means on our side is that there's a functional card that ends up being particularly hard to talk about because its presented goal is to be functional. Again, that doesn't make for a quote-unquote "bad" card—but a card that's got effort, no matter what kind, gets that hook where we can actually talk about it. Talking about a card's weirdness opens up dialogue, whereas function alone ends up inadvertently stifling it. If you're worried about a card going too far, at the very least you're pushing for a conversation, and that's where the crux of card creation as an art lies.

2. It's okay if it's been done before—just make me care.

Then again, you'll also hear me say that simplicity is the way to go for winning cards. That's a bit of a hard line to balance, because on the one hand I do like talking about the kooky nonsense that people submit here from time to time, but I also love a well-executed trope. I suppose the challenge here is where "well-executed" lies.

For some people, that'll be enough just to reference certain characters or planes or events or the fact that there's a Saw in the set about murder-house-clown-horror. That much never gets my engine going. No, it's the matter of choice, of circumstance, of history, of all the possibilities that the mechanics and/or flavor are depicting that matter. Cards have action, and cards also have impact, and cards also-also have their own little world where this all takes place. If I could break down how every part of a card mattered, then I sure as hell would, but that's a post for another day when I don't have the world on my shoulders.

All I'll say is that you gotta consider, for any given trope, what the emotional hook is for someone who may not otherwise care about the trope. You're making an argument, and you're here to win me over.

3. Ambiguity is the mind-killer.

And by that, I mean that "I don't get it" will create frustrations upon frustrations. Where are there the biggest potential ambiguities? Great question, me, let's see.

Name: If you're going for something esoteric in the name, the rest of the card's gotta explain it. Actions need to be connected to the name.

Flavor text: Is there someone talking? Is it related to the action of the card, or something before, or something after? Does it flow well off the tongue? Show it to someone else—do they understand?

And most importantly: how are these elements connected?

4. Don't add flavor text if you don't need it.

If you have a lot of rules text on your card, you're good without flavor text. If you can't think of anything that's not already being expressed, some up with something different. If you're not confident, keep writing until you are. Creative writing is hard. Really hard. Trust me. In the end, you're just gonna have to keep at it. Pro tip: read more if you want to get better at writing. Read beyond what you usually read and it might surprise you.

5. And if nothing else, add an art description.

Art is integral to a lot of Magic cards. Seriously! If you feel that you're missing anything, use your words to say what you wanna say. Or if you're really not sure how to describe it, draw it yourself! Draw it badly! I'm a terrible artist and I still absolutely love drawing because sometimes you just have to get those ideas out of your head. It matters to your vision and it matters to the card.

Adding mood, placement, color, etc. can create the context that cards need that otherwise can't be depicted on the text or even the flavor text. Treat it as part of the main dish, as it were.

I know I've said some of this stuff before, but I hope you're still reading and learning like I am. Lord knows I've got a lot to learn.

@abelzumi

[dritashoppe]

Persona 4 arena ultimax ps5

#PERSONA 4 ARENA ULTIMAX PS5 UPDATE#

#PERSONA 4 ARENA ULTIMAX PS5 PATCH#

#PERSONA 4 ARENA ULTIMAX PS5 FULL#

#PERSONA 4 ARENA ULTIMAX PS5 PC#

#PERSONA 4 ARENA ULTIMAX PS5 PLUS#

Persona 4 Arena Ultimax is a fairly easy game to pick up and play with some early success, but also offers one of the deepest and most unique fighting game experiences even in 2022. Overall, Persona 4 Arena Ultimax is still just as good and fun as it used to be with a fresh batch flavor added to the mix even if it is starting to show its age in a few areas. I've only gotten to fight against one person online during the review period thus far, and the connection was pretty much rock solid - though your mileage may vary as is the case with delay-based fighters.

#PERSONA 4 ARENA ULTIMAX PS5 UPDATE#

Yes, Ultimax launched with delay-based netcode again, but a rollback update is coming this summer (except for the Nintendo Switch version) - so you might want to wait if that's an absolute deal breaker for you. There are no options for viewing frame data or hitboxes, unfortunately, but what is there should work fine for most of your needs. Pretty much everything else about Ultimax appears to be untouched, including the Training and online modes.

#PERSONA 4 ARENA ULTIMAX PS5 PC#

You may have to play with V-Sync on, however, as I experienced a decent bit of screen tearing without it.įor some strange reason, they seem to have removed the open lobby rooms where you can walk around with your avatar and challenge players at arcade cabinets on PC at least, which kinda sucks, so I don't know if those are also absent from the consoles too. The game ran flawlessly in my experience, but that's not surprising given it's not very demanding on graphics.

#PERSONA 4 ARENA ULTIMAX PS5 PLUS#

On the PC version I played for this review, the developers included a built-in FPS counter that can be toggled on as well as the standard visual settings you'd expect, plus sprite filter options (which may or may not be included on the consoles too). The most important for many fans probably is the inclusion of complete dual audio options, so purists can now play the entire game with the Japanese voice over no matter where you live (though I'll always have a soft spot for the English dub). Ultimax doesn't include a version select either, so the only option is to fight on the final balance update for better or worse depending on who you are and how you feel about the changes.Īs for the rest of the experience, there only appears to be a small handful of improvements next to what was already there. There is a bit of a caveat, however, as the later arcade updates were fairly divisive in the Ultimax community for arguably making Shadow characters too strong compared to the standard cast - more about these changes can be found here.

#PERSONA 4 ARENA ULTIMAX PS5 FULL#

So while things may feel familiar to what you used to play, the game will still be a fresh experience full of discovery and experimentation. This isn't a minor touch-up either, as every character was fairly significantly re-balanced along with new and adjusted mechanics added to battles.

#PERSONA 4 ARENA ULTIMAX PS5 PATCH#

The biggest change to the game is the gameplay itself actually.Ītlus decided to update the new home version of Ultimax to the final patch found only in Japanese arcades previously, so this experience will be brand new to pretty much everyone in the West. Ultimax's release on modern systems is on the surface much more of a straightforward port of the PS3/Xbox 360 versions than a full on remaster with tons of new content added, but that doesn't tell the full story. There's more single-player content to spend your time with than most fighters released today too, but what does the new package provide that wasn't already there before? The action, while frenetic, is fluid and satisfying with so much room for player expression within every character, and it feels just as good as it did nearly 8 years ago. For the purposes of our review, I'll be largely focusing on the new bells and whistles added to the updated port of Ultimax that players familiar with the series (or genre) can expect and look forward to as well as what the game has to offer to those looking to jump in for the first time.Īs a fighting game spin-off of the Persona RPG series, Ultimax is still absolutely oozing with style, personality and great presentation although it won't be your cup of tea if you prefer slower, more methodical series in the fighter genre.

[bitsandbobsandstuff]

The Midnight Coconuts

Summary: Bucky and his girl take a trip to the grocery store. Several things are involved, including coconuts, a 25cent gum-ball machine, Avengers branded Jell-O, chocolate milk straight from the jug, and tampons.  Characters: Bucky x Reader Words: 3k Warnings: Some swearing. Insane levels of fluff. Dangerously adorable Bucky. One (1) random reference to Not Another Teen Movie. 

A/N: Listen, I will never be over silly domestic Bucky! I originally started this story before TFATWS came out and when I imagined Sam had a niece, so just go with it. Part of me wrote this, because I needed to convince myself that I love grocery shopping (one can only eat takeaway and Trader Joe’s Orange Chicken for so long) and the other part wrote this because I firmly believe domestic routines can be the most romantic adventures out there.

When the doors to the grocery store whoosh open with a gust of stale manufactured air, Bucky skids to an abrupt and dramatic stop.  

“WAIT!”

Behind him, you stumble in panic, fumbling with an armful of reusable grocery bags. Instantly you’re imagining spilled blood and stab wounds and clean ups on aisle three and god dammit, how can there be a problem? This is a grocery store at midnight on a Wednesday. Shouldn’t the forces of evil be sleeping? Why is it so impossible to get a day off work? Don’t they know you need rest? And peanut butter? And that you’re dangerously low on toilet paper?

The forces of evil are the worst.

Raising weary fists, you huff.

“What? Where is it?”

Bucky sidesteps toward a row of small red and green machines beside the entrance, falling to his knees and smushing his nose eagerly against the glass. Reaching a hand behind him, there are several impatient grabby motions, before he glances back.

“Babe, can you give me a quarter? I need a gum-ball.”

Planting a sneaker clad foot on his ass, you shove. Hard.  

“Bucky, we talked about this. Remember how you agreed to lower the drama and keep things in perspective? I thought we were under attack.”

“If I don’t get a green gum-ball,” he declares dramatically, “there will be an attack.”

Throwing the cloth bags at his face, you stomp off to retrieve a shopping cart, plunking your purse in the front and hunching over the handlebars.  

“I thought you said you were a millionaire now. Buy your own gum-ball.”

Bucky rolls his eyes.

“Like I carry loose change,” he scoffs. “C’mon, just one quarter. Please?”

This time, he gives you the Look. That patented Bucky Barnes stare, with the wide eyes and full pouty lips and faux innocent expression, and if this man wasn’t the love of your life you’d quite happily stab him in the heart.

Instead, you open your purse and fish out a quarter, flinging it at his frustratingly pretty face. It bounces off his forehead and he scoops it up with a grin.

“So just to clarify. You came to the grocery store covered in knives, but you forgot to bring money?”

Giving you an indulgent smile, he jams the quarter into the slot. With a twist and shake, a gum-ball rattles free, and Bucky crows with delight when he sees the green candy. He pops it in his mouth. 

“I didn’t forget. I made a conscious decision to remove the temptation. If I bring cash, I’ll spend it. You know I ain’t great with that whole self control thing.”

“How encouraging to hear, from the man with knives pouring out his ass.”  

Jumping to his feet, he throws an arm around your shoulders. 

“Ass knives sound painful.”

“Depends on how sharp they are,” you mumble, pulling a carefully folded sheet of paper from your jacket.

“Excuse you? My knives are always perfectly sharpened, thank you very much. What kind of expert assassin runs around with dull knives? Damn baby, it’s like you don’t even know me.”

Ignoring him, you flatten out the paper and smooth the edges, sighing happily at the block letters and structured diagrams drawn in deep blue ink. 

Here it is, your masterpiece. A monument to productivity. The gold standard by which all optimization models should be benchmarked. This isn’t just any list, this is The List.

Everything is grouped, first by aisle, then by product location within the aisle, and then from top to bottom shelf order, to maximize efficiency. This is the dream list. The kind that inspires jealousy. The kind people hold up at TED talks when they talk about time management techniques. Marie Kondo wishes she had this list. 

Bucky snorts when he sees the carefully printed boxes.  

“God, you’re such a square,” he says adoringly. He plants a sugary wet kiss on your temple and you grind an elbow into his ribs.

“We discussed this, Bucky. Don’t mock my lists.” 

“Sorry babe, I ain’t mocking. Your lists are beautiful, they always get me all hot and bothered,” he agrees, dipping lower to lick behind your ear. “And I really love that list you keep with all those dirty, filthy, sex things you wanna do to me.”

“I don’t have a list like that.”

“Yeah, I know,” Bucky sighs, “and I don’t know how many more hints I can drop here.”

Reaching under his shirt, you rub his belly consolingly. “Okay then. This weekend I’ll sit down and make you a special list. One so disgusting and dirty and depraved, it would make Wade Wilson cry.”

Bucky laughs and squeezes you tighter. 

“About damn time honey. I’m equally parts terrified and horny. So where’re we headed first?”

“Produce,” you answer promptly, plowing forward, Bucky still chuckling beside you.

The whole scenario was ironic, actually. There was no need to grocery shop - automatic ordering mechanisms  across the Avengers tower rendered the task meaningless - but sometimes it was a welcome relief to partake in such an ordinary thing. Unable to sleep after one particularly terrible mission, you found yourself wandering the aisles of your 24-hour supermarket, dressed in pineapple adorned pajama pants and one of Bucky’s rattier sweatshirts, searching for ice cream. The unexpected symmetry of products arranged along the shelves, the rainbow hued produce, the hint of baking bread wafting from the ovens, all those everyday trappings of normality, they washed over like a soothing balm. Soon enough, the boiling bad thoughts simmered to nothing more than a cache of blurry memories.

When you got home, sleep came fast, deep and dreamless.

One month later, the idea struck again.

After 36 hours of Bucky tossing and turning, dark shadows bruising beneath weary blue eyes, you took his hand and led him down the dark street for a midnight adventure. He was skeptical, disbelieving that something so simple could chase away the insomnia. But he dutifully followed you, strolling aimlessly through the aisles, throwing odds and ends into the cart. 

The tension gradually eased, he began to relax, and suddenly? 

He was hooked.

An hour later, after arguing the health benefits of frosted Cheerios over oatmeal, poking each hunk of cheese in the display, and loading the cart with every single flavor of spaghetti sauce on the shelf, the heavy weight of remembering began to ease. When he collapsed into bed, he slept for eight hours straight.

I don’t know what that was, he swore the next morning, munching through his third bowl of frosted Cheerios, but it was magic.

And with that, a midnight ritual was born. Sometimes you make the trek alone, sometimes Bucky does the same, but whenever life permits you go together. This small slice of domesticity brings a warm comfort to this strange life.   

There is no doubt, this is your favorite area of the entire store.

Barrels filled with tart oranges and smooth red apples. Tables piled high with bananas, some just shy of yellow, others sunshine perfect, and a few with speckles of black (which are the best). Shelves lining the walls, overflowing with bundles of herbs and lettuce, all coated in a fine layer of mist. 

Bliss. 

Heading straight for the apples, you plunge into the Gala pile, rummaging until you come up with ten perfect ones. Peaches follow, fingers rubbing along the delicate pinky-orange fuzz. Squeeze, smell, squeeze, smell. Five are chosen for a pie (Sam pleaded shamelessly until you agreed to make him one), and in the cart they go. Heading toward the wall of herbs, you’re reaching for the basil when a metallic bang makes you jump. Spinning around, you find Bucky lobbing coconuts into the cart.

“We need these.”

“We really don’t, Buck. I hate coconut, it tastes like suntan lotion.”

“They’re not for eating,” he grabs an apple, wipes it on his shirt, and takes a juicy bite. “They’re for security.”

Sticky juice drips from his lip, catching in his beard. When you reach over to swipe it away, he nips your finger with a grin.

“Explain please.”

“See it’s like this. We’re just here shopping, doin’ our thang -”

“Don’t say thang.”

“- when someone attacks. What happens? BAM. One of these furry beauties breaks their face. Problem solved.”

Giving him a slow perusal, you raise an eyebrow.

“Were the 47 knives you’re carrying not enough to deflect this attack?”

Finishing off the apple in three sloppy bites, he carefully tucks the price sticker in his pocket so he can scan it before leaving and sets the mangled core beside your purse.

“Babe, these are my back-up plan. A good soldier always has a back-up plan.”

While you grab a bottle of extra-pulpy orange juice, Bucky picks two jugs of chocolate milk, snaps one open and takes a swing. Ever the thrifty shopper, he pulls a familiar bag from his back pocket, fishes out a crumpled piece of newspaper, and dangles it before you.

“Found a coupon for this,” he says gleefully. “Buy one, get one free. It’s called a BOGO. A BOGO. Hilarious, right? Fuck me, I love the future.”

Still laughing, he takes another long drink of chocolate milk and smacks his lips.

It was a lazy Sunday morning when you discovered this particular habit. Walking into the living room, you found Bucky buried in a sea of Sunday newspaper, tongue between his teeth and scissors in hand while he clipped coupons. He wasn’t picky, if it was remotely interesting, it went into the YES pile. It was one of those random things that brought him inordinate levels of joy, so of course you encouraged it. On his last birthday, you gifted him with a green zippered bag decorated with angry looking owls and official looking letters stitched across the front:

Bucky’s Coupon Bag  Thriftn’ Machine Since 1917

He laughed for five straight minutes and then stuffed it full. The bag accompanies you on every trip and the sight of Bucky excitedly rifling through his wad of coupons still makes your heart swell.  

Setting aside his BOGO, Bucky continues down the aisle, leaving you to pause in front of the yogurt. While you contemplate the merits of blackberry vs strawberry, Bucky slides over holding three cans of Reddi-Whip. 

“Are you actually planning to eat that? I thought you said whipped air is for, and I quote, ‘spineless, tasteless trash heathens’?”

Bucky shakes the can of spray whipped cream and wiggles his eyebrows, leveling you with a sultry stare. 

“Hell no I’m not eating it. This is for the bedroom. Last week I watched this god-awful movie where some blond guy - who looked exactly like Steve, by the way - made himself a whipped cream bikini for his girl. Decided I’m gonna do that for you. You’re welcome.”

“That sounds gross and unsanitary.” 

“If by gross and unsanitary you mean spicy and sexy, then yes. Yes it does.”

Whistling what sounds like the theme music from a bad porn, he adds two tubs of honey swirled Greek yogurt, pats your butt, and strolls ahead, throwing a roughish wink over his shoulder. Imagining the melted whipped cream soaking into your bedsheets, you mentally add more laundry detergent to the list.

“Hang on, turn here.”

Tugging the cart behind him, Bucky stalks toward the feminine hygiene display. It takes him a minute to scan the products before squatting down to the bottom shelf. Grabbing two jumbo boxes of tampons, oddly enough the brand you prefer, he pops back to his feet.  

“Dare I ask why you need these?”

A faint pink flush crawls up his neck.  

“Well, you know, two reasons. They’re really great for stopping bloody noses, you know? Just poke ‘em up there and they soak it all up.”

 He mimes the execution and adds a thumbs up.

“And the second reason?”

Squinting at his boots, he shuffles his feet a bit. The pink flush deepens. 

“Um, you know - I know you’re out, since I stuck the last one up Steve’s nose last week, and yeah. Anyway. It’s about that time. Of the month. For you.”

Clearing his throat, he reaches for his chocolate milk, but you grab his wrist.  

“You know when my period’s going to start?”

He shrugs self-consciously and fiddles with a loose thread on his shirt.  

“Well yeah. You think it’s just a coincidence when all your favorite candy shows up every month?” Looking up, he shoots you a crooked smile and leans over the cart to kiss your forehead. Grabbing a fistful of his shirt, you haul him in for a real kiss instead and his startled laughter tickles your lips. When you break away, those bright blue eyes are shining. 

“Thank you, Bucky,” you murmur.

“Anytime, sweetheart,” he whispers. 

This is the aisle where the cart officially explodes.

Lasagna noodles.

Egg noodles.

Spaghetti noodles.

Penne.

Linguine. 

Fettuccine.

Literally one of every noodle is selected, because Bucky Barnes is a self-proclaimed noodle slut. 

As you organize the boxes and search for orzo, you see him furtively add an extra bag of elbow macaroni. A quiet cough hides your laughter.

The last time Sam’s four-year-old niece came to the tower, she and Bucky spent hours making glittery elbow macaroni necklaces, which they ceremoniously gifted to everyone. When Sam casually mentioned her enthusiastically telling everyone at pre-school about her friend Bucky and how much fun she had visiting him, Bucky ran to a craft store and bulk bought supplies of glue, string, paint, and glitter, just in case she comes over again.

Months later and the entire team are still finding puddles of glitter all over the tower, but the delight on Bucky’s face anytime someone mentions that arts and crafts afternoon? 

It’s worth the mess.     

Gathering up brown sugar, instant oats, and chocolate chips, you turn to drop them in the cart when Bucky makes a strangled noise. Glancing over, you find him bouncing on his toes, vibrating with excitement.

“Babe. Babe. Are you making monster cookies?”

Adding a can of raisins, you search for the good vanilla. The kind that actually tastes like vanilla, not a cheap car wash air freshener. 

“I promised I would,” you remind him. Bucky plasters himself against your back, wrapping you in an enthusiastic hug and nuzzling his face against your neck.

“I love those fucking cookies,” he declares. “They’re my favorite thing ever. Next to you I mean.”

Finding the vanilla, you spin in his arms and return the squeeze.  

“I know you do. But you have to share them this time, okay? You can’t just eat them all yourself like the last two times. Agree?”

“Agree…to disagree. They’re wasted on other people, no one else loves as much. It’s for the best when I eat them all, it’s proof how much I love you. I’m doing it for you. I’m supporting you. Because I love you.”

“You’re completely full of shit,” you reply.

“I swear I’m not! Just listen!”

The excuses grow longer and wilder as Bucky outlines his rationale against sharing, walking backward and dragging the cart with him as he pleads his case. He’s diving into the science of super soldier metabolism levels and caloric requirements and the fact that his sister never shared anything with him, when he bumps into a tall display. 

He pulls up short, eyes narrowing. Plunking his fists on his hips, he growls a disgruntled sigh and glares at the rows of packaging. 

“You’ve gotta be shitting me.”

Lined up in neat rows, you see boxes of Jell-O organized by color and flavor. On the cover of each are an assortment of familiar images.  

“Are these Avengers themed Jell-O?” you ask, picking up a box with Sam’s image and the words Wild Berry Wilson. The rows extend further, filled with Lime Green Hulk and Blue Raspberry Rogers and Black Cherry Widow and Strawberry Lemon Stark. Exasperated, Bucky grabs the Sparkling Orange Spider flavor. 

“Is this for real? The kid gets one and I didn’t? Someone in PR is getting fired.”

“Well there’re only so many flavors, Buck,” you point out practically, but Bucky’s not in the mood for logic. Instead, he swipes an entire shelf of Jell-O flavors into the cart.  

“I swear to god, I have to do everything around here. Fine then. I’ll make my own flavor, Blackberry Kiwi Soldier or Winter Watermelon Rainbow, or something.” He pauses thoughtfully. “Anyway, I’ll work on the name. But I’m bringing it to dinner tomorrow night and everyone is gonna eat it.”

He dumps in a bag of mini-marshmallows and grabs sprinkles for topping, before marching down the aisle. Cringing at the volume of sugar in the cart, you make another mental note to schedule a dentist appointment.

“Go do your manly duty and find the meat. We need two 5lb rump roasts.”

“I like your rump roast,” he instantly responds and reaches over to smack your butt again. Anticipating the move, you catch his arm and twist it behind his back. He barks out a breathless laugh and you slap his ass in return.

“Your innuendos are tragic.”

Releasing him with a gentle shove, Bucky snatches up his three coconuts and ambles away, laughing while he juggles them. When he returns, he has the requested rump roasts, several packages of bacon, and a bundle of cocktail shrimp.

“If my innuendos get better, then can I touch your butt?”

“Maybe. But they better be real good.”

An added benefit to shopping at midnight? Not a soul in line.

Loading everything onto the conveyer belt, you automatically organize for bagging. Boxes together, produce together, meat together. Bucky adds a pack of batteries, a tin of mints, and some trashy magazines.

The last three items in the cart are his coconuts. They rattle around until you toss them at him, motioning back to the produce department. 

“We made it out alive. Go put them back.”

Still chomping his tasteless green gum-ball, he shakes his head and plops them down. 

“Nah, I have another idea for them. Got all those craft supplies at home, I’m gonna make you something.”

“Should I even ask?”

Bucky blows a huge, wet bubble and looks you up and down.

“Have you every worn one of those coconut bras? Like on TV, with the ladies in grass skirts? I’m gonna make you one. I already have string and glue. And glitter.”

“I think you may be overestimating your crafting abilities.” Digging out your credit card, you wait for the final tally. 

“Well, if it’s terrible then you’ll just be naked. Either way, I win.”

Shaking out your grocery sacks, he packs everything with Tetris-like efficiency and slides all of them up the vibranium arm.   

“How about I make you a deal. I’ll wear a coconut bra, if you’ll make yourself something to wear as well.”

Bucky blows another sugary bubble, pondering the idea.

“Like a coconut man thong?”

“Exactly like a coconut man thong.”

“Deal. Add it to that special dirty list you’re making me honey. We got loads to do.” 

Outside, the night air smells sweet and cool, the barest hint of a spring rain and fresh grass lingering on the breeze. Already, your eyes are feeling heavy, tonight’s quiet adventure ushering in that sought after peace. 

In your right hand, the three coconuts swing gently in their plastic sack. Humming under his breath, Bucky yawns, reaching for your other hand. His warm, calloused palm squeezes tight, his thumb stroking lightly over your skin.

He turns to you with a sleepy, lopsided smile.

Midnight and coconuts.  

It always does the trick.

***

[amaranthineoceans]

Everything Weird About Deltarune!

Spoiler Warning for Undertale and Both Chapters of Deltarune! Really! I Literally Go Through Everything I Can Remember About Them!

This is a long post so get comfortable. Also note that my brain doesn't process thoughts into words very well so some of these might not be worded in the best way. :)

Deltarune. The first teaser chapter was released on October 31, 2018, and it came out of nowhere. We've all gone through this, but I'll try and go through every single painstaking detail I can remember. Feel free to reblog and add/correct things.

The weirdness begins right off the bat. The title is an anagram of UNDERTALE. We all know Toby likes to use anagrams when he wants to indirectly tell us when things are related, so it's no surprise that when you go to download DELTARUNE, it warns you that the game is designed for people who have played UNDERTALE. You think, "Cool, so it's a sequel? Or maybe a prequel? A different perspective of UNDERTALE perhaps?" You were wrong; so terribly, terribly wrong! I'll elaborate on this later.

Before you download the application, the terms of service that you must agree to beforehand reads simply and plainly, "You accept everything that will happen from now on." This detail was kinda brushed off in the beginning, because, hey, it's Toby Fox. He does weird stuff all the time. But even in the first chapter, it's apparent that the concept of choice, or more accurately, the lack of it, is a very present theme in the game. I would like to remind you that Toby has announced that there will be one ending in the game. One. I'll elaborate on this later.

The program (as in, what the game is called in your files) is named SURVEY PROGRAM. Why not just call it Deltarune like it is when you download chapter two?

The game launches you, without a title screen, without any setting adjustment options, straight into a reference to the theme of the entire franchise: the lack of choice. A strange formless voice guides you through "making a vessel", with what we know now as a fountain in the background. You have the option to make some very disturbing choices in this character creator, such as making its favorite flavor "pain" or expressing your feelings about it with options such as "fear" and "disgust." You name your "creation," tell the formless voice your name (which is different from your vessel's name) and watch as said formless voice muses over your name at an agonizing pace. It thanks you for your time and tells you that your wonderful creation, (cue music cutout and background removal) will now be discarded. "No one can choose who they are in this world." The screen slowly turns white as the voice says, "Your... name... is..."

It gets weirder. The next scene appears from the whiteness and showcases Toriel calling "Kris" out of bed. Kris' area of the room is very bare in contrast to the other side, which we later discover is Asriel's.

It's Toriel. Why is Toriel here?

Kris is kind of an anagram of Frisk (the protagonist of UNDERTALE) but without the F. I highly doubt this is a coincidence.

Speaking with Noelle is the only reason you can proceed (see what i did there?) while finding a partner in the classroom. This means you can't go through the 1st chapter without knowing who she is. Is it because of the Snowgrave route?

Ralsei is just suspicious to me. There's no way he was just waiting in that castle his whole life alone without some mental toil. So either he's insane or he wasn't alone the whole time. What happened? Is it related to how he can close his eyes and see what Susie is going through when she's apart from the party? Was he just watching everything? Is he related to the formless voice?

Susie's icon is the only one without color in the Dark World.

Jevil's fight is more difficult than Sans'.

Your actions have little consequence in the first chapter. If you choose to go genocide, the only difference in the ending is being run out of the kingdom, and this doesn't carry over to the next chapter. Again, lack of choice, people.

If at the end of chapter one, you walk around town, it's mentioned (notably by Noelle) that you're usually not this talkative. If you go to the hospital and speak with the receptionist, they mention that you used to play the piano in the corner. If you decide to attempt to play the said piano, an out-of-key bash can be heard and the receptionist comments on how you used to play beautifully. If you try this in chapter two, the result is the same. All this is confirmation that Kris is acting noticeably weird.

When you leave the Dark World and walk around town, you can find Sans. He "pretends" to recognize you, and if you tell him you recognize him, he tells you it's funny, considering that you two have never met before. He winks. I'm pretty sure he knows that the player is there.

The mention of Papyrus in both games, but the purposeful lack of him. Like he's avoiding you.

If you go upstairs while inside Asgore's flower shop, there are flowers in glass cases resembling his SOUL collection in UNDERTALE. There's a red flower.

You can't enter the church.

The clock in the storage closet shows a different time than all the others in the school.

If you go all the way south in town and into the woods, the music stops and you come across a rusty, double door is in a hill covered in crass. It's locked. If you go this way in chapter two, however, you watch a cutscene where you and susie happen to find Monster Kid from UNDERTALE (or someone resembling them) and an owl kid in front of the door. The owl kid is pressuring Monster Kid to (presumably) break inside, telling them that they don't want to be a wimp like Kris. Does this imply that Kris is connected to this strange door somehow?

The ending. You know what I'm talking about.

Did Kris actually rip out the SOUL (I say "the" because I'm not entirely sure it's Kris') and knife because they wanted to eat the pie? Did they only eat the pie because Toriel caught them?

Why did they look at the player? Are they sick of being controlled? Is that why they freaked out after the Spamton fight? (later)

Anyway, now we're at chapter two.

DELTARUNE Chapter Two was released on September 17th, 2021. 17. Entry Number 17. Sound familiar?

Asriel's part of the room is different from the last chapter. I don't think this means anything sinister, but I think it means Kris notices different things about the room as the story progresses. My theory is that it will become more sinister in each chapter.

Ralsei getting super excited to see Susie and Kris after a day. As in he has separation anxiety and it breaks my heart. not anything suspicious but it makes me sad so it's on the list.

Kris and Susie's rooms. Ralsei REALLY doesn't want them to leave. Seriously get this boy a therapist. Or a stuffed animal. SOMETHING.

Kris having to gather everything from the storage closet so that people appear in the Dark World????? Why??????????????? They had to do the same thing for the computer lab too.

The golden door. I don't trust it.

How/why the heck did Noelle and Berdley go into the Computer Lab Dark World? I don't see either of them just walking into pulsing void doors without Susie.

Apparently the knight has been gone for a bit and can corrupt people's minds? The king in the first chapter doesn't seem like he can be redeemed but Queen just seems,,, not bad, but a little crazy. I wonder what happened.

Then again, name ONE person in this franchise without trauma.

Spamton.

Horror doesn't bother me. Spamton? Spamton bothers me.

SPAMTON. ENOUGH SAID.

A Kromer is a type of hat invented in the '70s. Nobody named Mike is associated with it, that I can find.

SPAMPTON. HOW DO I EVEN DESCRIBE IT.

HIS SONG IS THE ONLY ONE WITH WORDS.

The way he asks Kris is they want to be a heart on a chain their whole life. Like, dude, no wonder they were screaming after the fight.

WHERE DID THE YELLOW HEART COME FROM. YELLOW MEANS JUSTICE. WHY DOES JUSTICE APPLY.

Kris screaming after the fight and the player not being able to hear it. Don't you dare tell me that's just how the game is designed. There are sound effects characters make throughout the game. None that I can think of apply to Kris, apart from when they rip their soul out.

Ralsei brushing off the Spamton fight. Either that's his coping mechanism or he was trying to shut Susie and Kris up to protect them from... something. I'll touch on that in a minute.

According to Queen, DETERMINATION is a key factor in creating a fountain.

Also according to Queen, Kris, Noelle, and Susie all have DETERMINATION SOULS.

Ralsei freaking out about Berdley making a fountain implies that he may also have DETERMINATION. Why I'm bringing all this up will make sense soon.

How was Noelle able to cast Snowgrave... a spell that she, according to her, didn't know?

The Snowgrave route is so twisted.

You manipulate Noelle into killing Berdley and then, when you get back to the computer lab and investigate his corpse, the text box says that he doesn't seem to be awake. As if you're in denial?

Burgerpants recognizes you. Not Kris. As in the player.

The ending. I don't think I need to describe it. Kris is very methodical without the SOUL. (I say "the" because, again, I'm not 100% convinced it's theirs.) I'm saying this about how they left clues that someone broke into the This proves that they are NOT a mindless, vengeful husk.

HOW DID THEY MAKE THE FOUNTAIN WITHOUT THE SOUL INSIDE OF THEM. DID THEY FEED THE SOUL TO IT AFTERWARDS? IS THAT WHAT THAT WAS?

Another point I would like to make is my theory that Ralsei knows much more than he would have us believe. I might put this into a different post because I have yet to gather my points into a coherent bullet point list, so keep an eye out for that.

Anyway apart from Toriel and Susie being VERY heavy sleepers, I think I've gone through everything. I have a few theories.

1. Kris is possessed by the player and figured out that they could make a fountain from Queen and related to Spamton freaking out about freedom. They then decided to make a fountain going by the logic that "this would tick the player off." This is one of my top theories that assumes that the SOUL is theirs.

And 2. Kris is possessed by both the player and the knight. I think the formless voice at the very beginning of the game is the knight, and they somehow needed the player to possess someone with DETERMINATION. If so, then why Kris? We know from Queen that Noelle and Susie, and maybe even Berdley also have DETERMINATION. The most plausible thing I can think of is the fact that human souls are stronger than monster ones.

I do think that the popular theory (about the one that suggests that the Dark Word is nothing but a figment of a child's imagination, and the events that occur in said Dark World are simply children playing with toys) has been thoroughly dashed due to Berdley's murder in the genocide route of the second chapter. Unless he's not dead. Regardless, how the events (or lack thereof) that occur in the second chapter play through the next will be interesting, especially considering Toby's announcement about how there will be one ending to the game. So either Berdley isn't dead, or he will be.

Aaaand I think that's it! Sorry for the long post; let me know your thoughts and if I missed anything!

[danganronpa-agere-writing]

Can you do cg!Celestia headcannons if that's alright?

Hi anon! I’ve actually been rewatching Danganronpa 1 with my sister, so the characterizations are hopefully alright!! Celestia is a super interesting character, but she’d be a wonderful caregiver. Thank you for requesting!! Have a great day :D

-Mod Mikan

Caregiver Celestia Headcanons!

•Celestia prided herself in her ability to tell lies, so that meant that she was quite analytical, as well

•So, she felt kind of silly she had never noticed the fact that you regressed— she didn’t even notice any sort of signs

•And if she had witnessed it before, she had just been under the impression you were clingy

•However, the moment she truly figured out that you were acting different was when you knocked on her room in the middle of the night

•She, of course, had allowed you in, but when she opened the door, she noticed you had a stuffed animal clung tight in your arms

•Celeste thought nothing of it— she knew you had them, and it didn’t bother her

•It was when you asked if you could stay with her— your words in a soft and slurred voice that she began to ponder why you were speaking in such a way

•She was in no room to decline, though, nodding and allowing you in, leading you over to her bed and settling you down beside her

•And so, you two stayed like that— you leaning on Celeste and her wrapping an arm around her

•Admittedly... she was curious as to what had happened, which was why she asked you about it when you had awoken

•“Dear... If you do not mind me asking, could I possibly inquire as to what happened last night?” She tilted her head, a relaxed expression on her face

•She did not want to seem judgemental

•You chewed on your lower lip— not particularly wanting to lie to her, regardless of how flustered you felt

•Besides... Celeste wouldn’t judge you, surely?

•So, you explained to her— you told her the concept of age regression and how you used it as a coping mechanism

•She listened to you carefully, and when you were finished, she hummed

•“Well, I didn’t expect it. But it does not bother me.”

•A small moment of silence passed, when Celeste suddenly cleared her throat.

•“I quite did not mind being with you last night. Would you possibly want me to look after you? Do not feel obligated to accept— only if it would ensure your comfort.”

•You only gave her a smile

•“I’d like that.”

•So— that was that

•Celeste, from then on, took care of you whenever you regressed, typically allowing you to come into her room

•Because— hey! She actually had a fair amount of cool things in there

•An entire variety of clothing choices— there had to be at least one that would fit your style and preferred expression

•She often liked playing dress up with you— it was something she took interest in, yet also felt so fun— due to the pure innocence of it all, of playing pretend

•Celeste also would be wonderful at making whatever drink you wanted— ensuring it was of the highest quality

•Apple juice? She’d already bought the freshest kind at the stores, either lacking or containing a decent amount of sugar, whatever you preferred

•Angel milk? She learned an exact recipe that would suit your tastes, and she’d make it whenever you wished

•Tea? Well, she definitely got you some that lacked caffeine, but other than that, she would pick out your favorite flavor and drink it with you!

•Whatever it was, she’d make it!

•Oh, and Celeste absolutely has the money to afford anything you could want...

•Sometimes she’ll just come home with an entire bag of stuffed animals, or she’ll get you a cup simply because she thought it looked adorable

•Don’t worry— she asks for your input too!

•She often sends you photos asking which one of these items would you prefer

•She absolutely loves spoiling you, whether you also like it or not

•And, though she would never admit this to anyone, the two of you have watching the Spongebob musical, as well as the Frozen one more times than you can count on both hands

•She also quite enjoys it when she’s able to hold you— especially after a long day

•Celeste truly loves wrapping her arms around you and falling asleep with you by her side

•She wants to feel like she’s actively protecting you, like nothing could hurt you if it tried

•It gives her a sense of security, a responsibility, of being sure that you were safe

•So— Celeste is a rather calm caregiver, yet more than happy to take care of you

•She loves seeing you be yourself around her, and she’s really happy you can trust her with something like this

•She truly adores you— and when she says that, she means every single aspect of you

•Please don’t forget that, okay?

[sineala]

A Few Thoughts About Hurt/Comfort

I have been asked this month to make a post about hurt/comfort in Avengers comics. And I love h/c -- I actually have a massive number of WIPs right now that are h/c -- so I am very happy to talk about it! Anyway, this is not really all that planned out and this mostly turned into an excursus on Tony Stark's pain. I'm sure you're all surprised.

Like pretty much everyone else, I'm sure, I have found that everything lately has been... pretty tough. And the coping mechanism that really got me through last year and this year was reading and writing a lot of h/c, on the theory that, however lousy a day I'm having, I can absolutely make sure that Tony Stark has a worse one. And then I can make sure he gets hugs. Wish fulfillment? Why, yes. (Once at Hallmark I was trying to find a "get well soon" card, forgot what it was called, and described it to my wife as "a hurt/comfort card.") I think Marvel Comics -- the Avengers side, in particular -- is an interesting canon for h/c for a lot of reasons. Though, honestly, if you asked me to recommend you, a hurt/comfort fan, a new fandom, I would probably just hand you some Starsky & Hutch DVDs. Go watch "The Fix" and get back to me later. If you like that, there's way more where that came from. But there's still lots to love in Marvel! Superhero comics are really a goldmine as far as the hurt side of h/c. Because superheroes, and you probably have noticed this, get hurt a lot. They get hurt repeatedly, in fantastical ways that are probably impossible in real life both physically and emotionally (at least, I don't think anyone's invented mind control yet), and even the heroes without superhuman healing powers tend to get physically hurt a whole lot worse than actual people can take. Currently in Iron Man comics, Tony has a broken back and is dealing with this by locking himself into the armor as a backboard and injecting himself with massive doses of painkillers. He's busy! He's got stuff to do! He doesn't have time to lie around and heal! So, basically, if you name a kind of pain that you would like to see happen to a character, it's probably happened to superheroes. Multiple times. The downside, though, is that comics do not really deliver that well when it comes to the comfort part of h/c. They could. It's not inherent to the medium that they don't. But because of the serial nature of comics and also the fact the primary audience is dudes who want to read about people in spandex punching each other, a lot of the time they don't really feel the need to provide closure and write about people dealing with any of the hurt. (Raise your hand if you're still annoyed with the end of Hickman's Avengers run.) But at the same time, I think that's a quality that makes Avengers ripe for h/c fanfic. Because, generally speaking, fandom likes to provide the things that canon doesn't, and fandom is more than happy to provide the comfort. If you enjoy canonical h/c in comics, I think you really can't go wrong with Iron Man. One of the big innovations of modern Marvel Comics was the concept that heroes would also suffer from relatable human problems, and in practice what this means is that a lot of heroes start with a fully-loaded angst-ridden backstory and origin story, ripe for h/c. So Tony starts out by incurring a heart injury that he fully expects is going to kill him, which he responds to by vowing he won't get close to anyone so they won't be sad when he dies, and throughout the early Silver Age is constantly on the brink of death as his heart nearly gives out on him practically every issue. And then even after his heart gets (mostly) better, there are various plots involving his armor being detrimental to his health and him choosing to fight on anyway. It's hard for me to think of another superhero hitting that particular variety of h/c in exactly the same way. Sure, superheroes risk their lives constantly, because this is how superhero comics work, but Tony is the only one I can think of who is this constantly this badly off, physically. Like, think of all the other heroes who have had a continual solo presence as fan favorites across Marvel history -- Captain America, Thor, Spider-Man, Wolverine, maybe even Deadpool. You know what those guys all have? Healing factors! For the most part, they are not running around continually on the verge of death, and while there are certainly memorable arcs involving several of them being severely injured and/or dead, you really have to work at it. It's not their constant state of affairs, whereas Tony is the kind of superhero who shows up to a fight already bleeding out under his armor. Yeah, I know Extremis gave him a healing factor. But he didn't have it very long, and also he did some extremely dangerous things while he did have it; I'm pretty sure I've never seen Wolverine saying that he'll just solve a problem by cutting off his own foot. So, anyway, yeah, there are a bunch of good arcs involving h/c for Tony. If you're looking for physical injury, he has a whole bunch of heart problems over the years, gets several new hearts, then ruins his brain, et cetera. That level of hurt is basically the background pain of Tony's life; every so often, his heart will get damaged or he'll have to live in the armor or the armor will be killing him, et cetera. If you're looking for more unusual trauma, I am, as always, going to rec Manhunt, a relatively obscure arc in late v3 (IM v3 #65-69) in which Tony has an extremely bad week. His tech is stolen and used to bomb a building. Then he gets shot in the chest. Then while he's at the hospital a nurse tries and fails to poison him, and she then tries to beat him to death. Then he checks himself out of the hospital and a helicopter shoots missiles at him. Then he becomes a fugitive from justice. And then, oh, yeah, he has to fight the Mandarin. It is... a lot. (Volume 3 of Iron Man is pretty good as far as h/c possibilities. You've got a lot of physical pain, Carol's drinking arc, the Sentient Armor, both DreamVision arcs, and Manhunt. Manhunt is finally supposed to be out in trade this month, by the way.) There are of course the drinking arcs, which probably count as their own type of hurt. But if you haven't read the second drinking arc (IM #160-200), please do. Marvel likes to up the stakes on events (Fear Itself, Secret Empire) by making Tony drink, and it does work, I think. I feel like I've spoken at length about Tony's drinking elsewhere so I don't really want to rehash it all here. And then there's the emotional pain. Angst and drama is something that happens to a whole bunch of characters, yes, especially in comics, but somehow Tony seems to end up with possibly more than his fair share of it. Fandom likes to make a lot of Howard Stark's A+ Parenting, so much so that you might think, if you didn't know canon, that this was just fandom running with a throwaway mention of Tony's terrible childhood and making it worse. But, no, canon really does go there with a reasonable amount of frequency. Howard's actual first appearance is in a flashback where he's ordering teenage Tony to break up with his girlfriend because she's the daughter of one of Howard's business rivals. And then we get into the verbal abuse, and the physical abuse, and the time Howard made Tony take his first drink, and the part where Howard was a demon in hell who Tony fought while he insulted him. And more! Currently, in canon, Howard is alive again and is in league with Mephisto for the express purpose of ruining Tony's life. Also when Tony was a baby, Howard tried to trade him to Dracula. I think you can make an argument that fandom is actually showing restraint when compared to canon. Tony also has a whole lot of Terrible Exes whose presence and/or former presence in Tony's life can be used for a lot of hurt. If you've read any amount of fanfic, you probably know that the exes who get the most play in fandom are Sunset Bain and Tiberius Stone -- not that Tony and Ty were ever canonically a couple, of course, but fandom is definitely enamored of this idea. Ty and Sunset both have relatively similar interactions with Tony in canon, in that they are both liars and emotional abusers, heavy on the gaslighting, with the purpose of becoming more successful than Tony. They both also attempt to murder Tony, although this is after he figures out they're evil, at least. (Yes, I know, this is not how either of them usually appear in AUs.) Tony also has a bunch of exes who also have just straight-up tried to murder or otherwise hurt him, sometimes while they are dating, and sometimes before Tony dates them: Whitney Frost, Indries Moomji, Kathy Dare, and Maya Hansen come to mind. There are probably more I'm not thinking of! But, yes, if you want to write about a guy in a series of terrible relationships, please consider Iron Man comics. If mind control is one of your favorite flavors of hurt, Tony's pretty good for that too. We all know about The Crossing. I suppose when I say "mind control" I mostly mean "armor control" because there are an awful lot of plots where someone else makes Tony's armor do whatever they want it to do and Tony is along for the ride -- Demon in a Bottle, Sentient Armor, and Execute Program are the first things that come to mind. There is also a fairly obscure What If that is What If Iron Man Lost The Armor Wars in which Justin Hammer apparently really wants Tony in a mind control collar to take off all his clothes and lounge around in his underwear. No, really. I think a lot of pain for Tony often revolves around his issues with control, generally -- his alcoholism comes into play here again. The entire aftermath of Civil War is also notable for its propensity to hurt Tony over and over and over. Is he stoically soldiering on through his grief after Steve dies? Hell, no! He cries, like, six separate times. He 100% blames himself for Steve's death. It's great. Everybody loves The Confession and the funeral in Fallen Son, but one of my personal favorites is Avengers/Invaders, in which Tony is confronted with a time-traveling Steve from WWII and in order not to screw up the timeline, he can't tell Steve he knows him. He is clearly not coping well. He shuts himself in a room with a giant wall of pictures of Steve! Also there's a part where he has to try to convince Steve he can trust him and he ends up having to tie Steve to a chair to talk to him, and Steve looks at him and asks, "Who did you kill to get where you are?" and I feel like that is probably one of the worst moments in Tony's life. No wonder he gave himself amnesia. So now we might want to ask, okay, but why is hurting Tony in fanfiction so much fun? I mean, I can tell you why I think it's fun. I can't speak for anyone else. One reason is that he is very emotional and very affected by everything he does. Sometimes you will see people complaining that the heroes of m/m fanfic cry too much and this is not realistic. This is not a problem if you're writing Tony! He can cry as much as you want and it's perfectly in character. I don't think it would be as fun to hurt him if he didn't express so much of his pain. But he does. He also feels guilty, and for me that's a very satisfying character element. If he were well-adjusted and didn't blame himself for so many things, it wouldn't be nearly as fun as watching him blame himself for everyone whose death he thinks he is responsible for, whether or not he is. And then he just keeps going, and it's, y'know, nice to watch him be resilient, too. So, I guess, I think hurting him is interesting because it's easy to hurt him, his weak points are pretty obvious, and he reacts a lot. Steve doesn't hurt quite as much as Tony does, in canon. It's certainly possible to hurt him -- I mean, they did actually kill him after Civil War, after all -- but I don't think the canonical patterns of hurting him are as numerous. Obviously deseruming Steve is a fairly popular go-to in terms of physical hurt; he's been deserumed at least three times that I know of. I think's easy to see the appeal there of taking a character who is fairly physically resilient and making him... much less so. Certainly Marvel seems to see the appeal. But other than that I don't think he has any other really common way to get physically injured. Unlike Tony, whose origin story is basically "oh no, I've acquired a disability," Steve's origin story is "I drank a serum that cured all my disabilities." Which, I mean, great wish fulfillment but there's not really as much there to poke at. Pretty much all of Steve's pain is emotional, but, unlike Tony, his pain isn't often specifically in response to someone directly, purposefully hurting him. Hickman's Avengers run is a big exception, yes. His pain seems to come up most often as a kind of situational angst. He feels like a man out of time. He feels out of touch with the modern era, with people his own age. He feels guilt because he feels responsible for Bucky's death. He feels like he can't trust the government and therefore he can't be Captain America. He worries that he doesn't know how to have a normal life. And, yes, these are deep and important worries but it's different than, like, Indries Moomji dumping Tony with the intent to make him sad enough to start drinking. Very few of Steve's villains want to personally ruin Steve's entire life the way Tony's villains do; mostly they just want to do things like bring back the Nazis. In terms of Steve's potential for h/c, I think Steve is harder to hurt than Tony is. Physically, he is definitely harder to hurt. You can deserum him, sure, but unless you want everything you write to be a deseruming fic you're probably not going to want to do that more than a couple of times. And if you want to hurt him physically while he has the serum, you have to hurt him hard. Usually past the point where a regular human would ever survive it. He's also harder to break, emotionally, than Tony is -- which means it's very satisfying when you can get him to break, but this is a guy who's only cried twice (that I remember) in canon. So if you want to get him to cry, you really, really have to wreck him, and he doesn't have as many obvious weak spots. He also doesn't generally sit around blaming himself for things that aren't his fault, and the whole "stewing in guilt" genre of plots for him basically came down to "he was sad that he thought Bucky's death was his fault," and that's really the biggest regret he seems to have, and also Bucky's not dead anymore. The Steve/Tony relationship itself, I would think, is also appealing to h/c fans because canon provides a lot of ways for them to hurt each other. Some people only ship pairings who would never, y'know, take turns beating each other half to death in major event comics. (And for a lot of Marvel Comics history, that was also Steve & Tony, so if you want them to be BFFs who have never fought, you can just set your fic earlier.) They have definitely hurt each other both physically and emotionally, so if you're looking for something easy and satisfying as a h/c fan, you can just read or write something where they... make up. What about Marvel characters other than Steve and Tony? Surely some of them are angsty, yes? Well, yes, but also it depends on the particular flavor of angst that you like. If you like the way Tony hurts, you may very well enjoy Doctor Strange comics, because they have a very similar attitude towards life -- they are both former alcoholics whose origin stories involve physical disabilities, who routinely make tactical decisions that negatively affect their continued existence and/or happiness a whole lot. It's very much an "I must suffer alone in the dark and no one will ever know what I am doing to save the world but it's the right thing to do" sort of vibe. Like, you can read comics where Strange is lying in hell with two broken legs, hallucinating that Clea has finally come to save him. Strange's biggest fear, akin to Tony's control issues, is basically that one day he's going to be an asshole again, so he's out there trying as hard as he can to do good. Also, if you like tentacles, he has all of them. I mean that. Carol also occasionally hits similar angst spots, and her drinking arc is great. A lot of people like Natasha, too; I have read zero Black Widow comics but I get the impression many people enjoy her brand of angst. The mutant metaphor is a little different in terms of overall vibe, but some people really like it as a source of angst -- the whole "protecting a world who hates and fears them" thing. It may not work for you, but if you like your hurt to include things like systemic oppression, go pick up some X-Men comics. Start with something like God Loves Man Kills. I feel like I liked this sort of thing a lot more as a teenager but that I kind of aged out of liking the mutants quite so much. It's also worth mentioning that not everything that hits the spot in one universe will be the same in the others, and I'm mentioning this because I feel like I have to say something about MCU Bucky. MCU fandom seems to get a lot of mileage out of Bucky's guilt about being the Winter Soldier, everything he was forced to do, et cetera. I have definitely read my share of those fics, and FATWS sure went right for that angst too. But as far as I can tell, he doesn't hit the same way at all in 616. And I like him a lot in 616; I'm always pleased when he shows up on a team. (He was so good in Strikeforce. Everyone was so good in Strikeforce.) But the thing is, 616 Bucky is, basically, phenomenally well-adjusted, given everything he's gone through, and I'm including the time he wrestled a bear in a gulag. He gets over having been the Winter Soldier, and now he's just, y'know, a guy with a cool arm who likes to bring guns to every fight to horrify his teammates, and he snarks at Clint. If you're looking for that angst, that is really not him these days. He's all better. So pretty much all that is canon. So what do we do in fandom for h/c? Well, as far as I can tell, a decent amount of it is canon-based or very canon-close -- there are a whole lot of stories exploring the angst of Civil War or Hickman's Avengers run. Tony's drinking comes up a fair amount, and if one of Tony's Evil Exes comes back to haunt him, it's pretty much only Tiberius Stone. I don't think I've read a lot of fic with Steve getting deserumed; it doesn't seem as popular in fandom as in canon. When Steve gets hurt, he tends to just get physically whumped pretty hard, and there's a fair amount of that for Tony too, but of course Steve can take more. There's also a thriving, uh, subgenre of pain involving Hydra Steve doing terrible things to Tony, presumably the terrible things he would have wanted to do to Tony in canon if Tony had had a flesh body. There's the usual kinds of h/c setups that appear in basically every fandom as well -- sickfic, whump, dub-con/non-con. You get the idea. But since fandom in general likes to take specific inspiration from canon, there's a lot of fic where the hurt tends to resemble things that happen more in canon. Like, I feel like comics fic probably has more tentacle fic and more mind control than canons that don't come pre-stocked with those. Probably everybody has a whole lot of "tied up by bad guys," though. And then, of course, fandom brings the comfort that canon does not. This is true in pretty much every fandom -- I mean, you aren't going to find a lot of actual canons where Character A saves Character B from mortal peril and then there's gay sex -- but, like I was saying, comics don't provide a lot of closure before it's onto the next thing. Usually with a different creative team, who has no interest in wrapping up anything from the last team. Steve and Tony talked about the incursions exactly once after Secret Wars and nobody mentioned the part where Steve spent several months trying to hunt Tony down and kill him. Tony is never going to remember the events of Civil War. Hydra Steve died ignominiously in a fire and no one has ever talked about him again. Honestly, if you're looking for a way to get some comfort in your fanfic, picking an event, any event, and just having the characters talk about it will be way more than any of them get in canon. I feel like honestly that can often be a pretty satisfying to read. And even though comics canon physically hurts characters pretty often and pretty badly, they also often skip right past the recovery. Maybe you'll get one page of a character in a hospital bed at the end of the story arc. Maybe you won't. Demon in a Bottle has one splash page of Tony going through alcohol withdrawal and then he's all better. I think Manhunt skips to Tony getting out of the hospital at the end. That's just not a story that they want to tell very often. The second drinking arc is notable in that it devotes almost as many issues to Tony's recovery as it does to getting him to rock-bottom. Similarly, Steve is done with his Nomad angst way way faster than you probably think he is (though The Captain does go in for a fair number of issues). So one of the things we often want to do in fandom is focus on all the bits that canon skips over, both in the "why did no one ever mention this story arc ever again" way and the "wow, so how long are they in the hospital after that" way. That's really all I can think of about h/c! I'm off to write some more of it!

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

[hopeymchope]

Persona Lite with Fire Emblem sprinkles on top

I’ve been addicted to Tokyo Mirage Sessions #FE Encore on my Switch for the past few weeks, and I’m getting close to wrapping it up. I figured it’s high time I talked about it a bit.

The game that would become Tokyo Mirage Sessions (TMS) was first announced as “Shin Megami Tensei x Fire Emblem,” which is absolutely not a good way to describe what this became. 

This title led so many people astray.

What comes to mind when you think of (mainline) Shin Megami Tensei games? An apocalyptic or post-apocalyptic setting. First-person-perspective battles. Negotiating with demons. Battles against deities. TMS contains a little bit of the third thing on that list, and none of the others. 

What comes to mind when you think of Fire Emblem? Medieval-era settings. Permadeath (either optional or mandatory). RTS-style combat. The famed “weapon triangle.” Support conversations. TMS contains the fourth thing on that list, and none of the others. 

But let’s be honest here: For most people (especially Westerners), the first thing you think of when you think about Shin Megami Tensei isn’t even the games with “Shin Megami Tensei” in the title. It’s the Persona series! They’ve grown far more popular than their parent franchise at this point.

So I suppose it was natural that TMS is, at its core, a “Persona Lite” game. The darker edges of Persona titles are removed in favor of something more T-friendly, but the basics are all there: A group of teenagers in modern-day Japan discover a strange alternate dimension that they can access which also gives them the ability to summon supernatural powers/entities. When people start to go missing in this other dimension, it falls to this group of teens to unite and save the day, ultimately leading to them discovering the reason why this alternate world has been bleeding into modern Japan in the first place and, in the end, saving humanity from annihilation. That’s totally how Persona works, and it’s also totally how Tokyo Mirage Sessions works!

However, instead of summoning Shin Megami Tensei demons as “Personas,” the heroes of TMS summon Fire Emblem characters that are “Mirages.” Each character is permanently linked to a single Mirage, so there are no “Wild Card” characters here. However, you can level the characters’ mirages up to make them take on new forms and new abilities. FE fans will notice that all of the characters here are from the Falchion/Tiki/Shadow Dragon stories - the two Marth adventures (Shadow Dragon/Mystery of the Emblem) and the semi-recent 3DS hit Awakening.

For some weird reason, all of the Fire Emblem “mirages” wear helmets, masks, or other face coverings 100% of the time. The only exception is Tiki.

The lack of the darker themes in many Persona games and the fact that there’s no “Wild Card” to manage is what makes this, in my opinion, more like PERSONA LITE. And then you get your Fire Emblem backup characters to serve as extra flavoring. The characters we meet from Fire Emblem are rarely the focus — you spend most of your time with the teen heroes — but they still manage to show off their unique personalities and carry in a load of FE fanservice. (The good kind of fanservice where it’s full of references and nods to the continuity of the series, I mean. Not the other kind where it’s softcore porn.)

Fire Emblem fanservice was one of the biggest delights for me here. If you’re looking for any SMT/Persona characters to pop up and link the continuity together, you can stop looking because they aren’t here. But if you want to see specific characters from the three source FE games pop up here, a metric ton manage to do so. For example: Tharja (from Awakening) creates two golems for training purposes, which she names Bord and Cord after the pair of heroes from Marth’s era. And then the actual spirits of Bord and Cord possess those golems. So naturally, they start bickering and fighting. It’s delightful. 

So yeah, there’s plenty of nods for FE fans to appreciate even if your favorite characters are taking a back seat to a bunch of teenagers. Fire Emblem fans will recognize the heroic mirages, the enemy boss mirages, the weapon triangle weakness/strength system and lots of musical cues. On the flip side, Persona fans will recognize the story structure, the magic spells the characters wield (things like “Mazio” and “Diarama” and “Rakukaja”), the common enemies you encounter and cameos from a few of the more famous demons found on signage around Tokyo. Sadly, there are no familiar sounds or music pieces borrowed from SMT/Persona that I noticed.

In addition to the main story, there are also “Side Stories” for your party and side quests from various NPCs. The whole game lasts around 50 hours even if you aren’t trying to 100% it.

And while the music here is mostly pretty good — especially the Fire Emblem themes — I really wish we’d gotten some Persona-style tunes in here. Persona soundtracks are absolutely killer and everybody knows it. I wanted to hear some Shihoko Hirata, some Lotus Juice, some Yumi Kawamura, some Lyn Inaizumi. Alas, that never happens. Sad face.

In fact, as far as vocal tracks go, you’ll only be hearing the performances of the main characters. See, the story this time revolves around a group of teens who are hired by a talent agency to become young starlets of the stage and screen. You meet plenty of pop idols, a cooking show host, aspiring actors, and those who do combinations of the above. There’s a lot of focus on the Japanese entertainment industry, and it’s mostly a very positive portrayal about how hard teen stars work to reach their dreams and how fulfilling it can be when they express themselves through their artistic pursuits. Speaking as someone who legitimately does not care one iota about the idol industry in Japan or Asia as a whole, I’m very happy that these characters managed to remain likable and their pursuits stayed enjoyable throughout. No one here is an ultra-deep character, but no one here is a total cipher, either. I’m additionally thankful that the vocal songs are another highlight of the soundtrack alongside the FE tunes. 

The last thing I’ll bring up is the “Sessions” mentioned in the title. It’s a battle mechanic wherein striking an enemy with a weapon or element they’re weak to will enable other characters to start jumping in with follow-up attacks. At first, it’s just one or two follow-ups, but by the game’s end, you might be sitting there for 15 or more consecutive strikes on an enemy after you initiate a “Session” of follow-ups. The greatest quality-of-life improvement built into this Switch port is that you can turn on “Quick Session” to make these attack animations much shorter and more rapid than they ever were in the Wii U original. I never had to play that one, but I can’t imagine I’d have much patience for constantly triggering 15 attack animations with every round. SO glad I don’t have to sit through that.

This is just a two-strike Sessions, so it won’t last long enough for you to take a beverage break.

So yeah, there’s a lot for RPG fans, Persona fans, and most of all, Fire Emblem fans to dig in “Tokyo Mirage Sessions.” And since we already covered that Danganronpa fans are apparently predisposed to enjoying Persona and Fire Emblem, that probably means that YOU, dear reader, are likely to dig this game as well. 

[your-localfriendandboy]

Hey y’all get ready I’m about to write a whole thing about why I love barbarians and y’all are gonna deal with it.

So like mechanically I love barbarians because I love playing tanks in rpgs to begin with. The high armor, massive hp pool and simple game mechanics means that I can just charge in an do my job even if I can’t big brain strategize on the spot and even if I don’t have the aim and reflexes of a sharpshooter. I pick the biggest threat and hit it till it stops moving. Simple and fun. Narratively Barbarians are usually given the role of “stupid beef man who only know fight and can’t read beyond a third grade level”. Like I love Grog but he’s treated as the standard of what every Barbarian should be. I, on the other hand, see Barbarians as having a large well of untapped story potential.

At their core Barbarians are characters who are driven by strong emotion. The ability itself is called rage but the emotion at the core of your Barbarian doesn’t have to be anger. Grogs Rage was more like a battle frenzy, a feral exaltation of the joy that Grog takes in violence. Yasha’s rage is more an expression of grief and pain and a desire to protect her family. But rage can be any number of things. You could have a barbarian driven completely by passionate love who has hearts in their eyes and a great axe in their hand. You could have a barbarian who’s rage mode is triggered by fear and they’re essentially having a huge panic attack. You can play with how your barbarian feels about their rage. One of my Barbarians is a robot who’s lost his memory and is essentially a giant toddler. His rage is flavored as his old programming taking over and turning him into a singleminded killing machine. He hates his rage and is terrified of the thing he becomes under it’s influence. Another barbarian might find joy in embracing their rage such as a concept I had of a zealot barbarian serving Dionysus and seeing the rage as a ritualistic madness and a way of communing with their god. You could have a character who rages like real world berserkers by ingesting herbs that drive them into a battle madness. The Hulk is the literally personification of Bruce Banners rage and negative emotions which he repressed after his dad killed his mom and now that imaginary friend can take over his body and wreck house. The possibilities are endless and fun and not just “me angry and hit thing hard”

Playing a barbarian hero is interesting for several reasons. It asks you questions about your opinions on violence and anger as well as what makes a person “civilized” as well as whether being “civilized” is even something to aspire to in the first place. It helps you come to terms with you’re own strong emotions. Barbarians are the enemies of repression. They usually are either completely not repressed to start, or learn to make peace with their emotions rather than fighting them over time. I also am always a fan of the gentle giant character who has the power to slaughter armies but instead chooses to make flower crowns and be the designated giver of hugs.

Personally though, I love barbarians because they are simple enough to cut through all the bullshit that “smart” and “civilized” people have put up to help themselves justify not doing the right thing. Barbarians don’t deal in “the big picture”, “acceptable losses”, or “Necessary evils”. Barbarians don’t agonize over the philosophical minutia of “what does good mean?” And never actually get around to doing anything. When the world tries to tell them that evil is unstoppable or worse necessary they say “ACTUALLY NO IT’S NOT! FUCK YOU! IM GOING TO SAVE EVERYONE AND THEN SHOVE A GREATSWORD DOWN THAT LYING THROAT OF YOURS”. They are a wild card that breaks through the systems that hold evil in place. They never accept that the fight is lost. They run towards danger with a smile on their face and a fire in their heart.

“Rage. Rage against the dying of the light!”

They are exactly the kind of courageous, confident, kind people that I wish I could be. I don’t have the confidence to be. I am often too scared to take a stand for what I believe in. I’m terrified of making the wrong choice and accidentally hurting people. This makes me passive more than I care to admit. There are angry men in my life and I don’t want to be like them. But I know that anger is a part of who I am and is not a wholly bad thing.

I love barbarians because often I ask myself the same thing Travis McElroy once asked: “what if you could cut out all the bullshit and just do good recklessly?”

[badlydrawnmanic]

you’ve all wanted it, and i’m not ready to go to sleep yet, so here’s the latest installment of the sonic underground rewatch!

episode 6 thoughts under the cut!

• unrelated to the episode but there was some lego ninjago commercial that showed like. non-lego versions of the main characters and it looked nice. don’t know if it was for a show or the website idk i wasn’t paying attention • [GUITAR RIFF] SONIC- • i will literally never get tired of the opening theme and you can’t change my mind, i would die for a remaster of this. it doesn’t even have to be a cover. gimme a live performance and i will cry • “tangled webs”. spider concerns already • ooh, swatbot factory. interesting • manic just slid down a little rocky hill on his ass and that’s gotta hurt • sonia stop shining that laser pointer in manic’s eyes you’re gonna kill him • “switch six, switch six...” reminded me of the fun fact that your brain can only identify numbers up to a maximum of 4 or 5 at a glance, i forget which. but like... notice how if you only look at something very briefly you wouldn’t be able to immediately know “oh there’s 27 objects there” but you can very quickly identify 1-4 • sonia stop hitting manic with the drone what is wrong with you • some of these background characters are passable and some of them are hideous, there’s no in-between

• oh it’s the lion boy!! his voice is weird but it’s him!! • god dingo’s face is all kinds of fucked up in this close up as he’s talking • why is robotnik’s cape flowing so far behind him when he’s walking at a somewhat slow pace • i find it funny when eggman’s henchmen mock him when he’s not around, but i didn’t expect sleet to do that • “intruder .8 kilograms? what?? • how does it weigh a drone that is hovering in mid-air • somehow dingo identifies the drone as being piloted by sonia despite it being a hunk of metal with cameras on it • dingo being or looking like in the case of my headcanon a grown man and slobbering over sonia is kinda freaky (it’s partially why i made the hc so it’s less yikes but it’s still uncomfortable and i’m definitely gonna tone it down because fuck) • sleet don’t hit him!! • sonia is clearly frustrated during her conversation with manic (he’s being reckless as fuck) but the animators decided to give her a dead eyed smile for the whole scene • i wonder how they made the mechanical sounds? like the electronic shweeshweeshwee of the robots walking or the whoosh of doors opening? foley stuff is fascinating to me and i wanna know if they had to do any weird shit

• sleet is monologuing about how he hears the pitter patter of manic’s little feet and oh my god his eyes • how is dingo sneaking up behind manic he’s so fucking huge and noisy • sleet says “sylvia” before whacking the drone out of the air with what looks like an entire swatbot he just sort of picked up? i don’t get the reference and since when is he so strong • okay in the next shot it’s just an arm but still • “sometimes you just have to get their attention”? • cool transition between scenes with the camera glitching and shutting down from the perspective of the drone, that’s neat • dingo picks up sonia but wasn’t he just behind manic? once again the pacing is confusing me • “oh, ick” me too sonia • manic and sonia are tied up and were but in gigantic chairs and it looks so funny • “now, sarah” okay i get the “sylvia” thing now, sleet’s just forgetting sonia’s name somehow • sonia says “twit-face” and i feel like she could be more clever than that • “whatever, sophia” • “where’s sonic!?” [NYOOM] • sonic’s voice sounds... really weird, is that what jaleel white sounds like when he isn’t trying to sound all nasally and shit? also he burps and it’s gross • god the movement in this scene is very janky in general • sonia starts lecturing sonic but gets interrupted by a laser blast and manic pipes in like “can we talk about this later?” • sonia strong • is sonic just spilling lava everywhere??? • you’d think there’d be more sounds here • “am i good or what?” feels like it was pulled from satam? • “you’re insufferable” “thank you” • sonia’s voice is so shrill jesus christ • i feel like this is a pretty good confrontation of how sonic not working as a team with the other two can cause pretty significant problems • sonia i don’t think robotnik would throw you in prison, that’s what the roboticizer is for and i don’t think he’d keep y’all separate from that • cyrus does a weird double take and i think it’s an animation error • this cyrus kid is pretty sus- who is this hippie dude- • CYRUS SUS CYRUS SUS • there was deadass just a normal animal bird with some kind of accessory on its neck as a background character • damn it cyrus • SONG TIME??? • apparently no • once again manic and sonia are tied up which lasts 2 seconds • aosth slow-mo beam, purple flavor • what are these background characters they’re so ugly • OH NO I REMEMBER WHAT SANCTUARY IS NOW • children... i’d love to see the tiny babes but they’re undoubtedly ugly as fuck • ROBOTNIK WANTS TO MURDER CHILDREN • one of the kids looks like reptar • SONG TIME NOW • why is this so. idk, whimsical? idk how to describe this but i already don’t like it • they forgot to draw manic’s head quills in a shot • why is cyrus looking so pissed at these children • sounds like a weird off brand christmas song. don’t like it very much but i guess it isn’t bad. maybe a 2/10 • sdnjksg assaulting your siblings with a cloud of flour sounds fun if not wasteful but still, manic seems to be enjoying his little tech demo • sonia says “this place is gross” and manic goes “hey, you’re talking about my childhood home” and i think it’s a good thing that the show didn’t just forget where they all came from and how this can create very minor conflict between them? like manic and sonia seem to slight each other rather frequently when it comes to sonia’s attitude towards dirty places and manic finding it comfortable there due to familiarity even if it wasn’t all that good. i can relate to that • sonic walks off the right side of the screen after refusing some goggles then. pops up and puts on the shades again? i don’t get it • oh my god sonic knocks cyrus (and manic by extension) over and they literally just. rotate the asset in place and leave them planking. there wasn’t a water splash or change of pose or anything • how does sonic zoom past a swat bot looking directly at him without triggering any alarms? why didn’t it notice him • why are there so many regretful traitors on this show • how does sonic not notice the clearly a hologram man in front of him • god the animation in this episode in general is abyssmal • ah jeez manic and sonia have been captured again • “attention sonic hedgehog” • OH NO CYRUS’ DAD but the expression he made in response to seeing him roboticized killed it

• i know he didn’t snort here but i can feel the little “snrk” sound here. it was at this moment he knew he fucked up • PULL THE LEVER, SLEET • that little drone thing is fucking insane, it melted the entire roboticizer?? • i much prefer when background characters resemble actual animals • aww hug • poor cyrus :( • GOD SONIC AND SONIA SIT DOWN TO COMFORT HIM BUT MANIC LAYS DOWN ALL DRAMATIC JUST SMILING, READ THE ROOM BUD-