#plot includes more than events and character

[reccyls]

A Summary post about Ikemen Sengoku: Eien

Official Website | Official Twitter | Official LINE

What is Ikemen Sengoku: Eien?

Ikemen Sengoku: Eien (Eternal Bonds) is a new application for Ikemen Sengoku, using updated UI and architecture to modernize it and serve as a continuation for the story of Ikemen Sengoku. Act 3 will continue in the new app, and Act 2 sequels for current characters are also being planned to be included in Eien going forward.

Why is it being made?

According to the dev team, the current Ikemen Sengoku app is showing its age. In April of 2022, the app was inaccessible for approximately one month due to server issues caused by unauthorized third party access to the game's servers which caused damage to user data. Although steps have been taken to update the systems and strengthen security, there is only so much that can be done with a program that's 10 years old. A complete revamp of the existing app will take too much resources and time. Therefore, the decision was made to create a new app using more moden practices and capability.

What are the features of Eien?

Eien is presumably going to be modeled after the Ikemen Prince and Ikemen Villains apps. A list of features is below:

Updated UI

My room/avatar customization that allows for freely placing avatar items

A bond system with fully voiced stories

A gacha system with cards and avatar gachas similar to Ikemen Prince/Villains. This also includes a beginner gacha with standard cards that you can select

There are further improvements to presentation with things like blinking sprites, among other improvements, in order to improve immersion

When will Eien be available?

Eien will be released in the fall. No conrete date is available yet. Preregistration is currently ongoing.

Will Eien have old stories?

It is planned for all routes to be ported to Eien eventually, but not all of them will be available at launch. Some will be available at launch, while others will be added over time. As of right now, there are no specifics on which routes they are or what the timeline for this is.

After all existing routes have been ported, there are plans to add an archive where assets from Ikemen Sengoku can be viewed in Eien. At the moment, it is unclear what is meant by assets.

What is Act 3? What is the plot?

In Act 3, a new enemy force the Ashikaga army faction seek to travel back in the past in order to change the childhood of the warlords. You, as the protagonist, will experience conflict as you witness the pain of their childhoods with your own eyes. This is a tale of the past, present, and future, about a search for happiness that transcends time itself. Act 3 is a tale of love more dramatic than anything before, as you find yourself shaken by the appearance of new enemies that leave you questioning your values.

Act 3 will begin with Nobunaga's Continuation Route.

Continuation routes also feature route splits. One of the route splits will contain CGs of the suitor as a child.

Furthermore, after fulfilling certain conditions when finishing a Continuation Route (likely to be maximum points, just like getting epilogues currently), you can obtain a story where you marry the suitor. This story also contains a CG.

Who are the new characters?

There are 5 new characters:

Ashikaga Yoshiteru (Doll x Obssession) - CV Yamashita Daiki

Matsunaga Hisahide (Allure x Immorality) - CV Sakata Shogo

Kuroda Hanbei (Benevolent Ruler x Pet) - CV Sato Takuya

Kirigakure Saizo (Death Wish x Demon) - CV Kobayashi Chiaki

Sen no Rikyu (Psycopath x Abnormal Love) - CV Dojima Hayato

I have translated their profiles here

What will happen to the old app?

Starting from fall, the old Ikemen Sengoku app will only have reruns. By the end of December 2025, the app will stop updating entirely, with no more events running at all.

Can you transfer your data over? What will be transferred between the old app and Eien?

There is a data transfer capability but not everything can be transferred. There is a campaign going on where your total Beauty and Glamour will grant you items in the new app based on how much of each you have, and some things will transfer. At this point, we don't have any information on what will be transferred to the new app. More information will come at a later date.

What about the English version?

I don't know anything about that at this point, it's best to wait for official announcements. Please also do note that all info that I have is specific for the JP version, I do not know if it applies to the EN version.

xx

Miscellaneous Info

Announcement trailer

Detailed Information about the Beauty/Grace redemption

The cutoff for counting Beauty/Glamour is August 25, 10 AM JST. Based on your final recorded beauty/glamour amount at that point in time, you will receive certain in-game items when you link your account in Eien. The specific amounts are below:

Detailed timeline of old app/new app

[fubuwu]

Fuck it. I'm gonna bite the bait just to say that there were many instances where jc clearly trated wwx like a brother/friend in the BOOK, aka the canon text in case anyone was confused or have seemed to have selectively forgotten about.

From the part where jc scoffs at the prospect of wwx getting together with a servant. Laughing and proclaiming that he was treated better than he was (in reference to his own sister peeling his lotus seeds for him which she didn't do for jc).

Then there was him standing up for him on NUMEROUS occasions throughout the book. Such as before the LP Massacre. He could have let his mother beat wwx senseless, but he tried to stop her from doing so, begging and crying even for her to stop and take the punishment for him. Despite the risk it took to do so.

Not to mention the excuses he made to the rest of the cw after the war when he stood up for wwx and shrugged off his casual and overly familiar demeanour.

Then ofc there was the sacrifice he made for wwx (which he didn't have to do as the only male sect heir) whilst they were on the run from the Wens that ultimately led up to the events in the novel..

The Cloud Recesses era.. the part after jfm gave away his dogs and jc steadily welcomed wwx in his life, willing to scare away any dogs that threatened him..

These are all things a nasty, homophobic rich man would NEVER do for his servant if he only saw them as such.

If he was classist as you all seem to think he is, then he would never dream of doing all the above CANON EVENTS for wwx's sake. Js.

These were all in the book. To ignore them, that means you are ignoring mxtx's work and you clearly did not understand the complicated relationship wwx and jc had.

Because it was made clear throughout the text that jc never saw him as a servant. They shared a room, went to school together and made HUGE sacrifices for eachother. So much so, that their relationship pissed of jc's mother.

If you ignore that then you are ignoring a VERY IMPORTANT part of the text. And I have to wonder if y'all only came into the fandom for the mlm relationship between wwx and lwj and not the the story. Clearly, y'all are selectively ignoring some very IMPORTANT facts. Js. This book is MORE than just a bl........

And if that's the case, then you have no place arguing jc canon facts. Js.

[zareleonis]

i know neuvifuri antis are delusional but why do they constantly fucking LIE and claim they haven't interacted since the archon quest when they interacted in both her story quest and the latest lantern rite!

[diceroulette]

they did not warn me that somnium files would have such a VICE GRIP on my throat . they did not WARN ME that it would be THIS FUCKING GOOD . im not even finished (no spoilers pls 🙏) but im around 38-40 hours in and im . OH MY GOOOOOOOOOOOOOOOOOOOOOOOOOD

[writesvani]

the fallen one — jeon jungkook

devil! jeonjungkook x witch! reader

exes-to-lovers, enemies-to-lovers, second chance romance

comment here for The Fallen One taglist;

SUMMARY: Jeon Jungkook was once a perfect being — an ethereal angel, pure and untouchable, the very definition of goodness. That was until you came into his life — a powerful, immortal witch who seeped into his veins, corrupted his soul, and dragged him into darkness. You poisoned him, and in his downfall, he was cast out of heaven, exiled to the fiery depths of hell. Abandoned in his misery, Jungkook became the twisted King of Hell — a living nightmare, feared and reviled, a cautionary tale for centuries.

But fate has a cruel way of reconnecting lost souls. After all this time, you and Jungkook cross paths again — but the hatred between you burns hotter than ever. Now trapped on Earth due to a series of disastrous events, Jungkook is at your mercy. You’re the only one who can send him back to hell and restore the balance of the world.

Forced to spend time together once more, you uncover the devastating truth: maybe neither of you are the monsters you’ve become. Maybe, just maybe, there's more to your story than a fall from grace.

A tale of forbidden love, redemption, and the battle between light and darkness — where even the devil might find salvation.

TRIGGER WARNINGS: angst, smut, fluff, explicit sexual content, emotional manipulation, toxic relationships, religious themes, implied past abuse, blood, violence, betrayal, heavy emotional themes, guilt, shame, immortality themes, abandonment, enemies to lovers tension, suggestive language, morally grey characters, power imbalance, mentions of death, supernatural violence, graphic imagery, emotional distress, dark fantasy elements

word count: coming soon

ꪆchapter index୧

– chapter one: the fall

– chapter two: crowned in fire

– chapter three: witch's bargain

– chapter four: old blood, new rules

– chapter five: the first crack

– chapter six: salt and flame

– chapter seven: mercy is a knife

– chapter eight: heaven’s eyes

– chapter nine: the devil we know

– chapter ten: redemption isn’t quiet

ꪆdrabbles + extras୧

– tfo moodboard

– tfo playlist

DISCLAIMER:

I do not own Jeon Jungkook (sadly). He belongs to himself. However, every cursed, angsty, witchy, seductive, slightly unhinged plot point in this fic is mine — born from too much caffeine, too little sleep, and an unhealthy obsession with fallen angels and morally questionable romance. Steal it and I’ll hex your crops, your Wi-Fi, and your taste in men.

all works published here are created by me (@writesvani on tumblr). i own all rights to my original works, including any written content, original characters, and plotlines. copying, redistributing, translating, or posting my works on any other social media without my explicit permission is strictly prohibited. all rights reserved.

[solxamber]

Hi can I have Ignihyde for # 8, fluff or comedy. Thank you!

Anime Boot Camp || Idia Shroud ft. Ortho

For the Holiday Event! || Prompt: "This is non-negotiable" ; Genre: Fluff with Comedy ;

You should’ve known better. You really should have. But Idia had given you one of those rare, half-excited, half-nervous smiles, and you’d been putty in his hands.

“Sure, Idia,” you’d said with zero hesitation. “I’d love to watch the new season with you.”

A seemingly innocent offer. A simple act of camaraderie. And then, Idia had dropped the bomb.

“Great. We’ll start from season one. It’s non-negotiable.”

Season one?

“Wait—how many seasons are there?” you asked cautiously, trying to keep the panic out of your voice.

Idia adjusted his tablet, the glow highlighting his sinister grin. “Nineteen. Not including the movies, OVAs, or the bonus material. But don’t worry, the filler episodes are only about 35%.”

Your soul left your body.

“I—uh…” you stammered, searching for an escape. “Do we really need to watch everything? I thought we were just watching the new season?”

“You can’t watch season 20 without context!” Idia exclaimed, horrified. “You’d miss all the foreshadowing and character arcs! It’s essential to the viewing experience.”

You looked at him, and there it was: the genuine excitement in his eyes, the rare spark of passion that made him absolutely irresistible. Damn your stupid heart.

“Okay,” you sighed. “Let’s do it. Start from episode one.”

Idia’s face lit up, and if you weren’t already melting, his quiet “Y-you’re the best,” would’ve sealed the deal.

That’s how you found yourself on Idia’s couch, sandwiched between him and Ortho, with snacks piled precariously around you.

“This is the start of a life-changing journey,” Ortho said cheerfully, handing you a soda. “Big Brother has been waiting for someone to share this with forever!”

You glanced at Idia, who was trying to hide his blush behind his hoodie.

“You sure we’re not biting off more than we can chew here?” you asked weakly as the opening theme of season one blasted from the giant screen.

Idia waved you off. “Nah. If we watch at 1.5x speed, skip the ending songs, and only take five-minute breaks every eight episodes, we’ll finish in about four days.”

“Four days?”

“Non-negotiable,” he reminded you smugly, tossing popcorn into his mouth.

By day two, you’d developed Stockholm Syndrome for the characters.

“NO, KAZUTAKA, DON’T DO IT!” you yelled, clutching the blanket you’d stolen from Idia’s bed.

“It’s his tragic backstory arc,” Idia explained, completely unfazed by your emotional outburst. “He has to do it for the narrative payoff in season 14.”

You groaned. “This show is going to kill me.”

“It builds character,” Idia said, smirking.

Meanwhile, Ortho was a model of efficiency, pausing episodes precisely for snack breaks and bringing you hot towels like you were at an anime spa. You were starting to think Ortho might be the MVP of this whole operation.

“Ortho, you’re a saint,” you said as he handed you a cup of tea.

“I just want to support Big Brother’s happiness,” Ortho chirped, beaming.

Idia mumbled something unintelligible and pulled his hoodie tighter.

By day four, you were fully invested.

“THE PLOT TWIST! I KNEW IT!” you screamed, nearly knocking the bowl of chips off your lap.

“Pshh, called it back in episode 47,” Idia muttered, though the gleam in his eyes said he was enjoying this more than he’d admit.

“You did not!” you argued.

“I’ve seen this, like, three times, noob,” he retorted smugly.

Ortho, who had already created a mini shrine for your endurance, clapped in delight. “You’re catching up to Big Brother’s level of dedication!”

When the final credits rolled, you leaned back with a dramatic sigh. “We did it. I can’t believe we actually did it.”

“I can’t believe you survived,” Idia said, looking at you with a mix of awe and amusement.

“Maybe a family sometimes,” you said, stretching, “is just you, your crush, and his technomantic humanoid brother.”

Ortho tilted his head. “Does that mean you’re officially part of the family?”

You froze, glancing at Idia. His face was redder than a lava eel, and he was aggressively pretending to read something on his tablet.

“Well,” you said, smirking. “That depends on your brother.”

Idia groaned, burying his face in his hoodie. “You’re insufferable,” he mumbled.

And yet, when you shifted closer to nudge him playfully, he didn’t pull away.

Masterlist

[rainsinheaven-if]

PLAY THE DEMO

Last updated: March 7, 2025 - and includes the prologue + chapter 1 with 14K words (without code)

Warnings: Blood and injuries, sexism, profanity, temporary character death, child neglect, parental physical and emotional abuse, optional sexual content, and more. Suitable for ages 16+. List will be updated in the future.

This game is in early development and a work in progress. There may be future changes to location names, plot etc.

You’ve never felt loved by your family before.

Born a twin but feeling more like a shadow, you’ve watched your younger brother, Nolan, receive all the love and praise you were denied. But no matter how unkind you are to him, Nolan’s loyalty and kindness towards you remains unwavering. It’s as if there’s a bond pulling you back everytime you think of leaving it all behind.

Now a mysterious illness has swept through Valorian Kingdom’s royal court, leaving many nobles, including the king at death’s door. The Oracle’s prophecy offers a single hope: the Crown Prince must gather five lost souls to join him in a dangerous journey towards Coven’s Swamp, an ominous and foreboding area hidden deep within the mystical forest.

You are chosen to be one of those five.

As you venture deep into the forest, the journey will push you to the limits of courage and loyalty, forcing you to question everything you believe about family and love. This might not just be a journey to save the day, but a journey towards self-discovery for you and everyone in your group. So when the journey ends, will there be anything left of the person who first stepped into the darkness? 

Customize your MC! Change your appearance and control your personality. MC starts out as female, but there will be transition options.

Grow a relationship with your twin! Choose to either continue being unkind to your twin brother or getting to know him instead. Your MC's relationship with him may affect some major events.

Develop relationships! There are six romanceable characters - 3 male, 2 gender selectable, and 1 non-binary. Or you can avoid romance and keep it all platonic.

Learn and improve your skills! With the option to choose to focus on offensive or defensive magic, you can learn and improve your skills to become better at what you do.

Find yourself! Journey through the mystical forest to not only find a cure, but to self-discovery. There are plenty of secrets to learn about that may or may not change the way you think and feel.

More to be added…

Below are the six romanceable characters in this story. You can choose to flirt with everyone, but at one point, you'll have to decide on one. Also keep in mind that there are other important characters as well that are not listed here.

Ver/Vera Forrest | Gender Selectable | 21

Playful and energetic with golden-retriever-like energy, V is always ready for adventure. They never fail to be there for you when you need someone to rant to, or a shoulder to lean on. Their cleverness and sneakiness keeps them out of most trouble due to the way they were raised. And it’s exactly how they are raised that has made them hide their burden under their positive enthusiasm.

You are best friends, so why don’t you know any of their secrets? 

Oliver Astoran | he/him | 21

With a cold demeanor, Oliver holds a strong desire to protect the people he cares about, especially those whose kindness is exploited. Your unkind treatment towards your brother causes him to despise you. You are always able to press on the right buttons to rile each other up. He shows a strong sense of determination that marks his mental and physical strength. But perhaps there’s something more to the reason behind his behavior than what the eye sees.

Will you ever be able to see him in a different light, or will it just be fighting, fighting and more fighting?

Ethos Van Winston | he/him | 22

Burdened by the responsibility of being heir to the throne, Ethos is reserved, guarded, and serious. As a child, he was once carefree and one of your closest friends. But after an incident that left unspoken, lingering tension between you two, he now elicits a melancholic presence. His warm side is hidden away somewhere, and you wonder if there was more than just the incident that made him change.

You weren’t the reason he changed… right?

Theodore Eaves | he/him | 24

From a young age, Theodore’s life has been defined by duty and training. He’s mature for his age and has a tendency to act like an older brother to you and the group. He’s well disciplined and stoic, rarely having time to express vulnerability. His focus on duty has left him oblivious to romantic interest, despite his admired reputation due to his looks and status. His obliviousness goes further though, for reasons that he himself hasn’t fully discovered and understood.

Will you ever get to see a vulnerable side of him, instead of just that brotherly figure?

Mattie | they/them | 19

Curious as ever, Mattie often gets themselves into trouble. But with their charming personality and resourcefulness, they’re able to get themselves out of trouble. They are playful, enjoying the work of teasing others and instigating drama to get chaotic, and hopefully flustered, reactions. Their skills and knowledge about the forest have proven him to be a good asset, but there is more to them than what meets the eye.

For someone who is so bright and playful, they can’t surely have anything to hide, right?

Yaran/Yara | Gender Selectable | 22

Nobody is sure they know who Y is. They seem ambitious, cunning, and deceiving; doing risky things to achieve their own goals at the cost of someone else’s pain. They are unpredictable, popping in and out of your group - sometimes being a guide, but other times hindering progress. Despite their ambiguity, they are charismatic and mysterious enough to leave your group intrigued. All there is to do now is truly learn who they are and what they have hidden inside.

Who is Y and can you trust them with anything, especially your life?

ROs Profiles | Discord

music inspiration

This is my first attempt at creating an interactive fiction game and using Twine Sugarcube. Please be patient and kind <3

Shares are appreciated :)

[transcendence-au]

★★★ HAPPY 10TH ANNIVERSARY! ★★★

It’s that special time of year, folks–time for our annual TAU ficathon! But, what’s this… we’re turning 10 this year? That’s a milestone if I’ve ever heard one!

To celebrate, we’re going to offer a couple extras this year… we’ve got contests, raffles, and prizes! Here’s a quick peek at what’s going down this eventful birthday of ours:

Fanfic contest (with prizes!)

Fanart contest (with prizes!)

Three raffles!

Alcor charm preorder!

Here’s what the schedule is going to look like:

October 5th: Fanfic and fanart contests open! Alcor charm pre-orders open!

November 2nd: Alcor charm pre-order close + payment deadline

December 14th: Contest submissions close

December 21st: Contest winners and raffle winners announcements

Click the read more to see all the details of these events!

★ Fanfic contest ★

→ Submit your fic to the fanfic contest here! ← 

This time, you can submit your ficathon fic into a contest for some fun prizes!

The winner will receive:

An Alcor charm (free including shipping)

Their fic featured in the “Introduction to TAU” page soon to be unveiled

Art for their fic, drawn by TAU creator Zillychu

Bragging rights! 

Unlike the usual ficathon though, there is a theme all contestants will need to follow. 

☆☆☆ The theme for this contest is: Introduction to TAU! ☆☆☆

This means your fic can be read by anyone who has no prior knowledge of TAU, or even Gravity Falls! It also means you need to give the reader a taste of what TAU is all about – this includes:

Something that explains the Transcendence (or at least shows the reader that the supernatural is now commonplace – this can be achieved anywhere from a single sentence, to a major plot point)

Alcor’s general predicament of being a human-turned-immortal-demon (could be in conversation, or in the general narrative. Does not need to go into detail on the events that lead up to this, but it can!)

At least one familiar or common theme abundant in this AU, which includes but isn’t limited to: 

Family (however it’s defined), friendship, and platonic love

Finding joy amidst grief, hope despite loss

Demonology and eldritch terrors

Supernatural politics and how they fit into the mundane

The existential horror of being a human turned semi-omnipotent immortal demon who must fight the demonic desire for chaos vs. the human desire to pack bond with everything!

A wonderful example of this includes Mod K’s series Bentley & Friends! The story plants you in the center of the TAU world through the eyes of a character named Bentley, and slowly unveils the setting through his perspective. Bentley himself is familiar with a post-Transcendence world and Alcor’s reputation, but only comes to learn the truth about him and Mizar through ensuing shenanigans. 

Another example would be MaryPSue’s Return, Rewind, Rewrite, which starts with an emotional demon summoning, and follows characters who find they're more closely linked to the Transcendence than they expected. Remember: Showcasing the story of TAU through narratives and character interactions is always better than simply giving the reader a summary! 

Please note that there is no word minimum. Longer fics will generally leave a better impression on the mods, but quality will always trump quantity. 

Here’s a list of all the prerequisites for your fic when entering the fanfic contest:

Only one entry per person

Adheres to the contest theme

Only new work created after this announcement post (or within a month if tagged as anniversary content) will be accepted!

Is rated G to M (no explicit sexual content please!)

No word minimum

Is submitted via the Google form by December 14th

OCs are welcome, so long as the theme is met and the story is easily distinguished as TAU-related

If you end up winning the contest, we will reach out to you for your name and address so we can send you your charm!

If you win the contest and you elect not to receive a charm, we will award the free charm to the runner-up.

★ Fanart contest ★

→ Submit your art to the fanart contest here! ← 

Not much of a writer, but still want to join in the festivities? Perhaps you’d like to write and do a little something extra?

Here’s a list of all the prerequisites for entering the fanart contest:

Only one entry per person

ANY art (that isn’t fanfic) is accepted! Illustration, mixed media, animations, emojis, music… if you create it, you can enter it!

Only new work created after this announcement post (or within a month if tagged as anniversary content) will be accepted!

No explicit sexual content

Is submitted via the Google form by December 14th

OCs are welcome, so long as it’s easily distinguished as TAU-related

★ Raffles ★

→ Click here to enter the TAU fan appreciation raffle! ← 

While the mods of the TAU blog will be picking winning contest entries, we’d like everyone participating to have a chance to win a free charm, as well as fans who have created fan content in the past!

There will be a total of 3 raffles:

If you enter the fanfic contest, you will be automatically entered in the fanfic raffle!

If you enter the fanart contest, you will be automatically entered in the fanart raffle!

Yes, that means if you enter both the fanfic and fanart contest, you will be entered twice! If you apply to the TAU fan appreciation raffle, you'll be entered three times!

The TAU fan appreciation raffle is open to everyone who has created at least one piece of fan content in the past! You will need to enter this raffle manually, and share a link to something you created in the past (must be something with a timestamp, like a blog post or AO3 link). 

☆☆☆ If you pre-order a charm and end up winning a raffle, we will refund you on Paypal for the full amount.

☆☆☆ Only one charm will be awarded per person. If you win one raffle, you cannot win in the others. 

★ Alcor charm pre-orders ★

→ Click here to pre-order your Alcor charm! ←

Want to ensure you still get a charm whether or not you win a contest or raffle? Go ahead and pre-order yours!

Price: $15

(includes shipping inside USA, additional shipping fees for international)

Note that since this is something Zilly wants to do in appreciation for the TAU community, the price listed is purely production price. This will cover the cost of the charm, and shipping. If you live outside the USA, we will calculate your shipping separately and disclose this in the Paypal invoice. If the price exceeds your expectations, you are welcome to refuse/cancel the invoice.

Your invoice must be paid by November 2nd! (We need to know how many charms to order!)

The charms will be sent in early January – We will do the contest winners and raffles first, so if you pre-order and then win one of the contests or raffles, your invoice will be canceled and you will be sent a charm at no cost. 

Here’s what you need to do to preorder an Alcor charm:

Fill out the following Google form (You will need to share your Paypal email! Make sure your name and address in your Paypal is correct, as we will be using that to ship your charm)

Wait for us to send you an invoice in Paypal

Complete payment of your Paypal invoice by November 2nd

Estimated delivery date will be January 2025!

★ And now... the true stars of our AU ★

That's everything for this year's celebration! But now, if you'll let me get a little emotional... I'd like to thank the heart and soul of the Transcendence AU:

You.

To all the fans of TAU, new and old. To everyone who spent years active in the fandom, to everyone who even briefly enjoyed TAU content in passing. To everyone who created fanfic and fanart, to those who created music and animated MAPs, to those who organized events and meet-ups, to everyone who reblogged and liked posts made by the TAU blog or any of TAU's wonderful fans.

Thank you. You created this AU. You created something more than an idea. You created a community. Without you, none of this would have been possible.

From the bottom of my little rat heart, I love you all. From all the mods of the TAU blog, we thank you! Here's to another ten wonderful years!

[fixyourwritinghabits]

Does anyone have any tips on writing flashbacks? I'm finding the tense a pain -- "When Jonathan was a boy, he had once run into friends at the local chip shop. "What are you doing here?" Biff had said .... But if not using perfect tense, what's a good way to transition into and out of flashbacks?

I know I've read good ones, but I can't remember how it worked (because it was "invisible")

One big issue with flashbacks is that there are so many ways to do them. That makes juggling when and where to do them a bit tough. However, there's definitely some things to keep in mind:

Some Don'ts

Don't use a flashback right before conveying information the flashback makes essential. The one is a bit confusing, but imagine this - you're in the middle of a confrontation with the big bad. Right before they start fighting, a flashback reveals the villain killed your main character's brother and therefore this is personal! ...Except that information would have been better revealed much earlier in the novel, especially if everyone but the reader knows it.

Don't start a flashback in the middle of an action scene. You could, for example, throw some quick remembrances of something that happened in the past, but if you're interrupting a critical scene to yank the reader back to a multi-page event in the past, you're killing all the tension in the story.

Don't let a flashback take over the main plot. If the flashback is more important than what's happening in the present, you're writing the story from the wrong point of time. You might want to consider shifting the narrative to that time period, and dealing with the "current" plot at a later point in the book or settling for quick, contextualizing flash forwards.

Don't use a flashback to hide things from the audience. The absolute worst way to use a flashback is to make a scene look like it happened in a way that it didn't. If your flashback is deliberately misleading in a way the characters of the story are aware of, don't use it. For example, let's say your MC flashes back to her father's murder. It's framed to look like her uncle did it. But your MC has known all along her mother was the murderer. The flashback isn't a story she's telling, it only exists for the readers, and audience she's not aware of. Even in first-person with an unreliable narrator, a flashback is not a good way to introduce doubt in a story. It makes the reader feel as if they've been cheated.

Some Dos

Use flashbacks to convey something essential to the story. You might have pages of past events that you've cut out of your story. I certainly do. But including them slowed down the pacing and killed the tension, and ultimately, I narrowed it down to what was essential for moving forward the plot. If the flashback tells us nothing about the character, the plot, or the world in relation to either, it's probably not necessary.

Use flashbacks for character-building. Your character is formed by their past. You will need to touch on that past in some ways. A flashback triggered by a painful memory (discovering an old toy, looking at a photograph, etc) might be a way to go about it.

To show how the character got there. Your character stumbles into a bar with a head injury. As they attempt to have a normal conversation, we flash back to the car accident they fled from.

Use flashbacks to highlight but not show the real issue. This is harder to convey, but if your character is trying to avoid the truth of an event, they might often revisit the event (a fight, an argument, a conversation), but not cover all the details. This skews toward hiding things from the reader, so you should be careful about it. However, if the narrator is avoiding the truth, there are ways to do it (flashing back but not covering the whole event, flashing back to pieces of the event, etc).

Use flashbacks to frame what actually happened. Your character tells a story about themselves the whole book, but the flashback reveals what actually happened in a moment that reveals the true nature of their character.

Types of Flashbacks

Mid-scene, short paragraphs. Good for characters struggling with trauma, trying to avoid the truth of something, or looking at an image or thing that jogs their memory.

A few pages of needed context. Your MCs are at a party. They're laughing it up, seemingly having a good time. The next page or so steps back into the fight they had in the car on the way there, and how they spent time fixing their makeup before going inside.

A whole chapter - maybe. As I said above, the longer you spend in a past event, the more likely that is the main story. But if you need the POV of a character from the past, or need to highlight a critical event that you deliberately skipped over when it happened, a chapter might be a good call.

How to determine what kind of flashback you need and where you need it? That depends on where you're at in the story.

Does this flashback convey critical information about your character?

Does this flashback convey critical information about your plot?

Does this flashback add to or fit into the tension of the scenes around it?

Does the flashback slow down or stop the action? (It may be in the wrong place in your story.)

On that note, is your finale flashback-free? (If you're wrapping up the story, you need to have all your cards on the table.)

There's many, many more things we could get into, but that's a decent start. Working in flashbacks is a matter of trial and error at times, so don't shy away from them when drafting. You'll figure it out!

[slugtranslation-hypmic]

Reflection on Fanservice and the Hypmic Movie A.K.A. I Can't Stop Thinking About That IchiKuu Bait (But, Like, In An Intellectual Way)

Watching the Hypmic movie pushed a concept I'd been thinking about to the forefront of my brain: how to write cohesive fanservice.

Fanservice occupies an interesting place within a work by being both a departure from the main plot or setting while simultaneously furthering the works' overarching goals. Fanservice has to be Part of the whole but also recognizably Not--to acknowledge that something is fanservice is to set it apart from the rest of the work with a knowing wink, to say that this aspect of the work is in someway closer to the fourth wall than the rest. If we imagine elements of a fictional work to be two-dimensional panels, inserting fanservice is suddenly turning this two-dimensional stage on its side and revealing that the fanservice panel is closer to the audience than all the rest. It's adding a literal new dimension to the work.

Because fanservice is meant to provide some desirable Thing that cannot be satisfied within the constraints of the main work, fanservice often exists in a quasi-universe of its own. It's like we've jumped onto a new plane--one closer to the audience--when we shifted from the previous two-dimensional panel to the fanservice panel. This plane plays by different rules. Fictional characters can seduce the audience. Men can kiss men; women, women in otherwise heterosexual universes. Then the fanservice ends, the perspective snaps back to the previous plane, and the rules of the universe resume. Fictional characters can't flaunt sexual behavior to an audience whose existence they have no awareness of; homoeroticism can't be anything more than a joke when male/female is the only flavor romance comes in. Whatever happened in the previous panel breaks the rules of the universe--so what happens to it? In most cases, the events of the fanservice panel simply never happened in the main storytelling plane. They're never acknowledged again or contribute to plot, characterization, or themes. Fanservice simply floats on its own plane, disconnected, and can only ever be evaluated in respect to other events in that same plane.

And while that makes the fanservice no less compelling (this isn't a rant against fanservice), doesn't that feel like a waste? Why include a story element if it doesn't work toward some common goal?

Well, it does! Fanservice explicitly performs a feature the rest of the work handles implicitly: defining a target audience. Other story elements (plot, genre, characterization, etc.) create a synergistic effect that suggests certain things about the author's intended reader. People who enjoy misogynistic, medieval fantasy powertrips might also enjoy big titty anime men; handsome, spindly men who solve murders and get covered in blood might also appeal to those who want to see blood-covered men making out. Fanservice rewards those audience members for finding the work and, perhaps unintentionally, can drive away audience members outside of the intended audience. Apart from sheer joy on the author's part to include it, fanservice creates messaging about in-groups and out-groups. Don't like elf titties breasting boobily at the slightest provocation? Stop watching isekai. Don't want to see bloody dudes sucking face? Get out of the ikemen aisle. And so on.

This can cause difficulties, then, when a translator falls outside the target audience. While most established translators have an (often broad) focus, there is generally an aspect of "I sure do like having money for goods and services" that informs a translator accepting a particular assignment. One of the most common complaints I see about otherwise sound translations is a translator failing to recognize fanservice cues or play up fanservice to the degree expected by the target audience. On one hand, this can be really frustrating for the audience! It's understandable to feel slighted or robbed of part of the fun. On the other hand, it can require a lot of extra, unpaid work for a translator to familiarize themself with niche tropes/kinks/etc. It can also be profoundly uncomfortable to write--and attempt to write well!--something you find morally repugnant.

I think matching the author's energies is one of the few things I'm genuinely very good at, so I put a lot of thought into fan service. What does the target audience for this particular type of fan service like, and why do they like it? How should the why factor shape the English text? (This can be fun! Weird kinks? Well, I'm not in the having sex fandom, so off to Ao3 I go. Huh! Here's a byline running through most of these fics--this must be one of the central draws of the kink. I see that same byline in the work, and now I understand the author's intent better. Let's make sure to include that in the translation. This can also be...less fun. My job is to make sexual assault and incest look hot! I'm...not a fan of either of these! I don't really like looking at them, even in fiction! But hey, let's go figure out what the appeal is and see if it can't be reproduced here! Do I feel gross writing it? Yeah, I do. Does that make it any less of my responsibility to do a good job? Personally, I don't think so.) At the same time, it's important that the fanservice doesn't become so off the walls that it fails to integrate into the rest of the translation

This ties back into the question I asked earlier: Isn't it a waste for a story element to be so divorced from the rest of the text? Wouldn't it be nice if fanservice offered something more?

Enter what I call "cohesive fanservice." (I flirted with the term "effective fanservice" but I think that's disingenuous, because fanservice usually serves a different purpose than the rest of the text.) Cohesive fanservice is fanservice that contributes to the rest of the story--be it plot, characterization, themes, whatever.

But wait! Fanservice operates on a different set of rules from the main universe. How are those different rules reconciled? This is usually handled in one of three ways:

The rules aren't reconciled, and the audience is asked to consider the implications of this discrepancy. Here's a fourteen-year-old shaking her butt for the camera in a universe where fourteen-year-olds are sexy. Now we return to the regular universe where that's not true. What does your reaction say about yourself? What does this say about how we as a society sexualize young teens? And so on. It should go without saying that this is not the same thing as pushing the idea that fourteen-year-olds are sexy throughout the entire work. There must be a deliberate attempt to challenge the audience and/or discuss the topic.

The rules aren't reconciled, and this discrepancy has consequences in the plot or characterization. In one of the jobs I alluded to above, a fanservice scene sells a "hot" portrayal of sexual assault. In the rules of the fan service plane, sexual assault is acceptable. But upon returning to the rules of the normal plane, sexual assault is no longer acceptable. Sexual assault is scary and very serious! The assaulter and her victim have a falling out, and we're forced to examine what made the assaulter ever think it was acceptable to force herself upon the victim to begin with. How the assault changes the victim and assaulter and how, if ever, the assaulter can regain the victim's trust are then discussed through the remainder of the series. The discrepancy and its consequences furthers the plot and the characterization thus contributing to the story. While I didn't like translating this scene (it was emotionally draining for maaaaany reasons), I liked what it did for the story and respected the author's choice to include it. I think it's well-written even if not personally enjoyable.

The rules are reconciled because the fan service, outside of its main premise, obeys all the rules of the main plane. Not the same thing as "there's a heterosexual explanation for this." If a character bares their boobies to the camera, then we should expect them to be interested in showing off their body outside of fanservice. If one handsome man waxes poetic about another, he should be the type to deliver heartfelt monologues in general. In a work I have truly egregious creative freedom on (and thus the equally daunting obligation to produce good fiction no matter what), I frequently run up against fanservice walls of this nature. If the author wants character X to do Y--something they never, ever do--it's my job to figure out what would compel X to do Y, how this unknown third thing interacts with the world of the story, and how doing Y affects X. This is Really Damn Hard.

And here I turn to Hypmic for inspiration, because Hypmic is often superb at this third type of cohesive fanservice.

Hypmic is so fanservice heavy it affects the series' ability to cohere--just look at any time the worldbuilding is examined with any degree of seriousness. Between the contradictory and constant needs for the characters to look Hot, act Gay, and be Goofy Goobers (humor can 100% be fanservice), it's kind of a miracle there's any consistency anywhere. Except it's not a miracle--it's really, really good character writing.

Things like ARB that are almost pure fanservice don't need to cohere; there, it's fine if the story jumps back and forth between fifteen hundred different planes because the primary purpose is to entertain. Why not have pterodactyls and also body swapping? You want hot boys too? Sure! Have little a Gentarou bare arms. As a treat. Doppo and Hifumi are confessing their undying love in the corner? Sounds good! Why the hell not! Whee!

But because none of the stakes matter (if ARB!Dice got mauled by a bear, Gentarou and Ramuda would laugh, and then he would show up in the next card alive, shirtless, and pitifully covered in glue), it's hard for audience members to feel emotions outside of levity. Now it's more important for fanservice to follow the rules of the main story plane--because if those rules break in fanservice, why should the audience ever expect them to hold at other times?

Hypmic doesn't always succeed at this, but when it does, it does it very, very well.

The Hypmic movie has lots of good examples of this, but I want to narrow in on the three First Stage leader kiss tease scenes, especially now that the official account gives us references I can legally screenshot and share. There's one that I think is very, very cohesive (IchiKuu), one that I think is not at all (SasaSama), and one that is cohesive on a technicality so bizarre it deserves to be looked at too (JakuRamu).

As a side note, this has nothing to do with my personal enjoyment of the ships--I like SasaSama and IchiKuu pretty much equally. I'm coming at this with my translator hat on, which isn't necessarily objective but is informed on "what do the authors want to convey" and not "what do I, personally, want to focus on."

Let's start with IchiKuu!

Kuukou marches right into Ichirou's personal space and forces Ichirou to lean very far back for the duration of his verse. Then, in Ichirou's verse, Ichirou reverses the position.

Kuukou is shown grinning, and his eyes flare in interest.

(Please ignore the...I can only hope accidental...innuendo in Ichirou telling Kuukou to "take his overwhelming vibes" lol)

I don't think the overall premise of any of these scenes is especially coherent (can you imagine being Juushi in this moment and sweating in nervous horror as Kuukou holds world's most wicked lean, hips fully under Ichirou's, for a solid ten seconds? The way this would blow up on the internet... The questions you, as Juushi, would not be prepared to answer... The pointed silence from Hitoya in the car on the way home... Like come on lol), but each individual action feels true to the character. Both Ichirou and Kuukou would do those things unprompted.

Kuukou is physically comfortable with Ichirou, breaks social conventions, and otherwise gets in people's personal space all the time. Here are two quick examples from DoD chapter 3, which occurs before Ichirou knows Kuukou well.

We've seen Kuukou be aggressive (often and always) and invade Ichirou's personal space in somewhat odd ways, so it makes sense that he'd do so here.

We also know that Ichirou matches Kuukou tit for tat, even when he probably really shouldn't (see Ichirou watch Kuukou break his own arm, call him an idiot, and start fighting him in DH/BAT chapter 9), so it's reasonable to assume Ichirou will ignore common sense and do the exact same thing to Kuukou.

Then, and this is the part that THRILLED me because it showed such deep understanding of the character, Kuukou grins and eats up every bit of Ichirou flexing on him.

A recurring theme in Ichirou and Kuukou's relationship is the idea of Kuukou admiring Ichirou for being "strong." From that same chapter, here's Kuukou admiring Ichirou for beating him up (and being stupid enough to try and beat him up) while expressing anger that someone so cool (again, I must stress, "cool" to Kuukou means physically ripped and dumb as a stump) would be engaged in a morally rotten pursuit like shaking people down for money.

Kuukou doesn't just want to beat Ichirou. Kuukou wants just as badly to see Ichirou beat him and delights in evidence of Ichirou's strength. That's why we see his eyes light up, and that's what cements this scene to me as an amazing piece of fanservice. It reinforces everything we know about these characters and their dynamic and would be feasible, if not a bit exaggerated in this intensity, in a non-fanservice scenario.

Unfortunately, the SasaSama scene falls flat to me for these same reasons, which is an issue a lot of Samatoki and MTC fanservice shares.

Sasara leans in close to Samatoki's mic. Samatoki backs away slightly, surprised, then leans back in with an aggressive look. The camera lingers here for a while as the same "indirect mic kiss" is repeated with the second and third liners. It's reminiscent of MTC's and SasaSama's cigarette kisses.

While I agree with the framing--Sasara doing something to surprise/annoy Samatoki is in character--I think this scene is limited by its position in the song (a chorus where everyone does the same thing; if I recall correctly there's another moment like this further in which isn't much different and similarly failed to impress me) and the need to sell the image of sexy MTC.

It's not that I think MTC is unsexy. It's that I have no reason to believe Samatoki has any desire to make himself look sexy to us.

Compare this image of suave Hifumi (FP/M+ chapter 3) to one of Samatoki breasting boobily (BB/MTC+ chapter 22).

Hifumi is an entertainer by trade. Even not in front of a in-universe audience, as is in this scene when it's just him and the BBs, it makes sense that he would swivel his hips and push his hair back for the IRL audience because he plays up to audiences.

But Samatoki doesn't work in entertainment. He wants to appear tough, not sexy, so it makes no sense for him to turn to the audience and flaunt his body. For this to look natural, the manga often showcases his physical form as incidentally attractive while intentionally threatening.

It feels believable that Samatoki would lunge at the audience and if his shirt just happens to press itself against his massive pecs... oh no... woe is us who have to see that...

This is what makes the cigarette kisses as a whole feel weak to me on a characterization level.

Take the famous SasaSama cigarette kiss in TDD chapter 5 (a chapter so old I don't have it in Japanese...). What reason does Samatoki have to look attractive for the audience? What would compel him to light his cigarette from Sasara's instead of using a lighter, either his or Sasara's?

In general, I think many Hypmic writers struggle to write in-character MTC fanservice because MTC has far fewer reasons to pander themselves. Not only do Samatoki and Juuto have a vested interest in making themselves appear unapproachable, all three have difficulty (at first) trusting one another and (later) showing affection for one another. It's one of the group's core conflicts. While some groups can fall back on shenaniganry (Ramuda tackles Dice! Kuukou whacks Hitoya on the back! Ichirou bearhugs his little bros! and so on), MTC can only do so sparingly to avoid either a) being out-of-character or b) tarnishing the group's tough guy image, which is a major part of MTC's IRL sell. As a result, MTC (and Samatoki in particular) can often feel stiff or muted in group shots, which I felt hard in this movie and in certain segments of the stage plays.

How can this be mitigated? Apart from incidental fanservice (here's a good one from DH/BAT chapter 11--Samatoki lost his lighter in a fight, so he's forced to ask--and therefore trust--Sasara and just so happens to be a pretty boy in the process) and the odd MTC goofball moment, I'd love to see more authors lean into MTC's desire to have connections.

Here's an example from the BB/MTC+ epilogue that handles a group shot with stupendous ease. In it, Samatoki is watching the Buster Bros and Fling Posse after Fling Posse wins the 2nd DRB, swears, is prompted by his teammates, and leaves with a promise that MTC will win the next DRB. This is nothing exceptional--virtually every MTC loss in every medium ever goes exactly like this--but the presentation changes everything.

The deliberate pacing, the focus on Samatoki's attention, the refusal to show Samatoki's eyes/facial expression after the close-ups on the teams hugging, the stark shot of the palpable distance between the MTC members, the hunch in Samatoki's shoulders, and the close-up on Juuto's left-behind cigarette tell a completely different story than "Grr, I'm so tough I'll swear and say 'we'll get 'em next time.'" Suddenly, MTC isn't reticent because it's cool. It's that they're so stuck being cool it forces them to be reticent, but that's a heavy burden and not one MTC bears lightly. That's completely in-line with their characterization and a fantastic take on them! I want to see more like this!

As for what to do about the SasaSama kiss tease... I'd love for them to have justifiable, in-character actions that in turn support their dynamic. Sasara getting in Samatoki's face is fine; he can easily do so if his purpose is to annoy or as part of a physical gag. Samatoki can then fall for the bait and lean further in or grab Sasara by the collar and tug him forward intimidatingly--here's that happening in canon in DoD chapter 4--whereupon we can have another, less surface-level interaction.

Sasara and Samatoki's theme is partnership, so a good piece of fanservice should lean into that. Either Samatoki could suddenly finish the joke (as part of a verse, perhaps?) Sasara started (causing Sasara to be surprised, then elated) because Samatoki's a dork and a softie at heart--source: literally all of canon--or something happens to Samatoki's mic, necessitating Sasara to offer his and letting Samatoki finish the verse from Sasara's mic. (Sasara can still remain in kissing distance to chaperone it as need be.) Inherent trust, leaning on one another, etc. etc. I get that it's difficult to stress partnership in an adversarial scenario, but there's really so much room for creativity here. It's a shame we didn't get more.

Maybe the writers were saving all their creativity for whatever the fuck Jakurai and Ramuda were up to.

In this scene, Jakurai advances at Ramuda during a verse. Ramuda backs up, loses his balance, and falls on his backside. Jakurai, in a certified Jakurai moment, kneels down until he's straddling Ramuda and delivers the rest of the verse a few centimeters from Ramuda's lips. Ramuda blushes. (His model blushes often and freely in the film, including several other times Jakurai's around.)

In some versions of the film, there's a shot of this from the back where you can't see what's going on. This is a common visual shorthand for kissing or sex in JPN media.

Ramuda eventually has enough, flips Jakurai over, climbs on him, and repeats the same procedure. Jakurai looks vaguely unamused like he wasn't the one who started it.

I can't begin to pretend this is a sensible thing to do, so I won't. I cannot formulate a single good reason for Jakurai to have done this. (Ramuda has a weak case for payback, and I'd even understand it if Ramuda started it, since he gets in Jakurai's face to a) be obnoxious and b) bring Jakurai "down to his level" all the time--but Jakurai???) There's an element of entertainment in the DRB which allows us to suspend our disbelief for choreo and other flashy movements, but this isn't choreo and Jakurai is not a flashy character.

However, I can't knock it as hard as I knocked the SasaSama bait because, in ass-backward fashion, Jakurai has canonically exhibited so much inexplicable behavior toward Ramuda in the name of fan service that it's in-character for him to act bizarrely around Ramuda.

This psuedo-canonization of Jakurai's freakshit rests on three things:

Jakurai's universal character trait of socially atypical behavior and difficulty understanding social dynamics. Because Ramuda also behaves atypically and is inappropriately touchy-feely/affectionate in general, this gives all their TDD shenaniganry credibility. It's not. Hmm. It's not not distracting and obvious fanservice whenever Jakurai stares at Ramuda for five panels and the mangaka busts out the lens flares, but there's a whole canon's worth of characterization that the assertion "Jakurai is oddly hung up on Ramuda" can comfortably rest on. We see Jakurai nursing a similarly long-lived (if less in our faces every second of the day) hang-up on Hitoya.

Good lord, the sheer quantity of it. Like DoHifu or GenDice, there are so many examples of fanservicey behavior to point to that they can't all be written off as flukes. That is, we can accept to some degree that Samatoki and Sasara didn't really rap a chorus in kissing distance according to the rules of Hypmic's main story plane--romantic relations between the characters don't canonically exist and, uh, it'd be awkward to be that close. We can't write off every single instance of Jakurai being weird at Ramuda without it breaking the story. To some extent, lack of romantic relations be damned, Jakurai and Ramuda are getting handsy and being obsessed with each other.

Some JakuRamu fanservice is coherent fanservice type 2--it breaks the rules of the main story plane (no gay time for rappers) and this has consequences. Characters will remark that Jakurai and Ramuda are atypically close or even that they obviously want to be closer, two such conversations of which take place in this movie. Here's a more obvious example in the TDD vol 4 bonus. Samatoki and Ichirou find Jakurai's Ramuda-braided hair weird (there's flag 1, socially atypical behavior) and comment on the two of them being especially close (flag 2).

Here's Samatoki being annoyed at their bullshit as a freebie. (I just love the way the mangaka draws him here haha. "What the hell does that [made-up word Ramuda pulled out of his ass to describe him and Jakurai] mean?" He's so long-suffering.)

These three factors essentially instate a rule in the story plane such that, left to their own devices, Jakurai and Ramuda will engage in largely inexplicable shipbait behavior. Which is outrageously funny.

GenDice and HifuDo fall in the same camp, with the latter having somewhat stauncher reasoning (lifelong best friends) than the former (Gentarou, uh...gets a kick out of fucking with Dice). The thing is, whereas this was undeniably intentional with HifuDo--we see this degree of shipbait laid out for them in the earliest pieces of Hypmic media--and arguably so with GenDice, I genuinely don't know if the Hypmic writers intended for JakuRamu (especially Jakurai) to progress in quite this fashion.

While it's clear from creator comments that there is a central writing team and that creators are expected to follow certain mandates from this team, creators are also given a surprising degree of creative freedom. When one creator--a voice actor in a live, a stage actor in a show, a manga artist in a chapter--does something the central writing team/other creators think is clever, this will be picked up and added to the character. One example of this phenomenon is Kuukou backflipping, something first introduced in the stageplay and now ported to the movie. So while early drama track Jakurai is not unreasonably hung up on his old friend and betrayer Ramuda, the manga artists came out the gate swinging with their own agendas. As other manga original content was added to Jakurai's character (much of his body language in the stage play is from the manga; the hand motif is largely from the manga), I can't help but wonder if this came along for the ride. Sure, JakuRamu was always meant to be a marketable ship, but did the writers intend Jakurai to be the driving force of so much of it?

In conclusion: Did these three kiss teases feel "earned" to me?

IchiKuu? Yes.

SasaSama? No.

JakuRamu? By virtue of a loophole...I guess so?

[velvet4510]

Instead of yet another stupid apocalypse, you know what the final “battle” of Season 4 actually should’ve been?

The Umbrellas (including Ben) vs. Reginald.

No Cleanse.

No Keepers.

No durango.

NO REGINALD REDEMPTION.

None of that nonsense.

We should’ve had all of the Reginalds merge. So in the end, he remembers all the events of the previous seasons. Including the original timeline. He is the Reginald who raised and tormented and abused the Umbrellas.

The same should’ve happened to Ben; the Umbrella and Sparrow versions merge, and he has the memories of both versions. He is the Ben they once lost.

We should’ve learned the full extent of Reginald’s alien powers. It should’ve turned out that he is in fact a one-man army when he wants to be.

We should’ve seen Reginald’s plan backfire - the “tools” that he created in a selfish plot to get his wife back rebel and take back their autonomy from him. All his years of child abuse come back to haunt him as he is given no choice but to acknowledge that the Umbrellas are actual people, that they have found the real meaning of love in each other and his efforts to control them have truly failed. That there is more to these people than his own selfishness. All of his teachings come back to haunt him as their powers are used against him.

We should’ve had the siblings - plus Lila since she’s part of the family and also hates the man who abused her beloved Diego - finally face off against Sir Reginald Hargreeves. Both a physical and verbal battle.

Luther uses his super strength. Diego uses his trajectory tricks. Allison uses her rumoring for mental torment. Klaus conjures ghosts as backup. Viktor’s energy blasts bring Reginald’s worst fears to life. Five’s teleporting and time manipulation make their victory inevitable. Lila’s mirroring only doubles the effects.

And, through teamwork, the family win the battle and kill Reginald. (In Guardians of the Galaxy-type fashion.)

Together, the traumatized children finally conquer their abuser together.

Maybe they kill Abigail too, or maybe she sides with them and expresses disapproval at the atrocities that Reginald committed because of her.

Maybe Reginald is holding Sloane prisoner on the moon in Abigail’s place, and the final battle also operates as her rescue.

But definitely, the climax needed to be a confrontation between Reginald and his “marigold” children.

At least that would’ve been an actual emotional payoff to the 3 seasons of buildup and character development.

[tetrakys]

Some info!

This past weekend I went to the Ready, Set, Romance! convention in Paris. Beemoov's booth was very cute with so many posters of MCL and Eldarya. I couldn't attend the whole event but lots of interesting things happened including a Q&A, round table about visual novels, and lots of nice conversations between Chino and players, so I decided to collect in this post many of the questions that Chino answered. (Long post, more below the cut)

Q. Why did you include a threesome scene in Lysander AL when he is described as being very jealous? And did he and Castiel also touch each other? How did it work? A. Having a threesome scene was always part of part of the fandom's fantasy, it was something that was requested a lot and we do try to incorporate the fandom's requests to some measure, while trying to remain true to the characters and story. Of all threesomes requested, Castiel and Lysander are the two characters that have the strongest friendship, so this is the only threesome I could see potentially happening in the story. We know it's of course not something all players want that's why it's still a very clear choice, for the player as well as for Lysander (you can choose for Lysander not being into the idea). Also it's only one possible branch. It is less canon than the other branch, which includes the proposal and follows with the wedding. No, Lysander and Castiel did not touch each other, they focused on Candy of course! But as for everything else it's basically open to imagination, you can picture the logistics of it as you wish 😅

Q. What is the process of creating the illustrations? A. It's a long process: -I Brief the illustration, which means I describe in detail what scene we want, what pose we want, with description and photo references when we can + photos refs for the mood/colours. -Then an artist makes a sketch, to validate the overall illustration (pose, characters, expression). At this point I can ask to make changes, or even try something totally different. -Then someone else does the lineart with other adjustments if needed, sometimes I redraw over it myself. -Then the Colour with other adjustments if needed, sometimes I can also redraw over it myself at this stage. -Once everything is considered validated, it goes on declinations process (and sometimes we will still make changes if an error or something wrong slipped though the different steps).

Q. How involved are you in the scenario? A. Similar process as with the illustrations. -I work on the overall characters descriptions/background + overall plot line and a big idea of each episodes - with the help of another scenarist to keep a fresh eye on things. -Then I brief each episode to the scenarist who will actually write it, with more or less details of all the scenes I want. -Once the episode is written I read it all, and ask for changes or rewrite parts myself. -Once satisfied, another scenarist rereads the episodes to check for grammatical errors, coherency, etc, that I also review before approving. So changes still happen at this point. -Then the episode is read by a few other peoples (test/quality/community manager/translators) and also the integrators who will point out at this stage if they is anything looking off, e.g. incoherencies, or if we could add some more callbacks to other episodes we didn't think about etc…. So until the very end we keep adjusting the episode to try to make it the best possible. The whole process takes months, that's why we have to prepare so much in advance.

Q. So this means that Brune can't be added as a love interest. A. Correct, she cannot. Q. What is the most difficult aspect of creating these games? A. Keeping track of all the branching/choices to make it interesting to play and to replay. Also to find balance between player's feedback and expectations with my own vision of the games/story (it has to make sense for the story and for us) + as episodes are made so much in advance, feedback only "appears" months later. (E.g. as right now I am working on the final episodes basically, and the events for next year.) Of course when we can we add a few lines to give requested information or very little scenes when they don't require many words, but we can't redo big chunks or full episodes.

Q. Is there going to be Alternate Eldarya? A. No, unfortunately the game doesn't have enough players since the ovh fire incident and season 2 who did not meet financial expectations to be able to invest in Alternate Eldarya episodes. Q. Why does Ysaline have no friends? Old Candy had more friends outside of school. A. Because a lot of feedbacks over the years has been of players complaining about "wasting APs" on friend dialogues and that they wanted to spend most of their time with their crush. Taking this into account, we decided to keep friends/family interactions to a minimum of lines and characters (in game it's mostly the mother, sister, Elenda and Brune). However, following recent feedbacks too, we have been adding a few lines here showing Ysaline speaking to other friends, but we kept it very short (because we can't change drastically the episodes done, as mentioned before, and to avoid players feeling like they're wasting APs). As for old Candy, her recurrent friends were actually mostly her schoolfriends. We made a few other appear but it was always quite short or on specific episodes.

Q. Would Castiel and Nath get together canonically if Candy were not involved? A. No, they won't. They're both straight. Q. Are the old crushes with someone else in New Gen? A. We kept the situation of the old crushes a bit blurry in New Gen so that each player can decide with "who" their candy ended up with. For example, in a later episode when meeting Castiel, the player has the choice to say if they know whether Castiel is married or not (so it can be closest to the player's choice original game). We did try our best on this matter to not have "one" defined canon ending. Q. What was the Farah/Leandra route supposed to be about in Moonlight Lovers? A. I'm not allowed to give much details on unfinished projects because we never know (even if it's not planned to rework on it of course.) But basically it was for the player to discover both of Farah and Leandra's lives and universes and eventually make a choice towards one, or the other, or both. Q. Are we going to see Lysander in New Gen? A. Maybe ! Actually yes, even sooner than you think 🙂 Q. Why a goose? A. Because we try to keep things original and fun. Cats and Dogs are cool but they are everywhere. Ferret, bunny, we did them already. Snake or Rats are very peculiar but also not so original in my option. So a goose ! Especially when I saw that they can have costumes for real, it sounded perfect! Also after research I also found out they can actually be funny companion pets in the right conditions.

Q. What happened to the players' designed packs? A. We started working on them almost as soon as the contest ended, but we got caught up with urgent deadlines. These pack did not have a deadline, so they have been pushed back. Now they have been completed for some time, but we will release them with a bunch of other novelties (such as the possibility for players to have the crush at their side on their profile if they can and want to), IN THEORY at the end of the month. I do say in theory because we never know if things can be delayed. Any update that looks to be "easy" needs to be discussed, approved, put in the production planning, have the web design done, the code done (for web and mobile - and mobile takes lot of time unfortunately), being tested again and again, being reworked/corrected, tested again until it works, being translated, and then it can be put online. Everything that looks "simple" always takes a lot more time than we might think. Q. Why no female love interests in Eldarya? A. It was planned to have one in the second season. But as episodes have limited words and we were already often short in MCL in general, we considered that a fantasy world needed more words for world building and adventure, so the decision was ton keep it to 4 LIs and not 5. As females routes are under-played in our games (basically they cost us more money to produce than what they earn) we decided to remove this one. Sorry 🥺 Q. Could players create new characters like it happened in old MCL? A. I don't think we will do it again. It's more complicated to manage with all servers (when we mostly used to do it on the French one only at first) and there is also the fact that these kind of contests (in general I mean, not just us) are always received 50/50 by the players. The ones happy to participate, and the ones who think it's taking advantage and stealing from artists. So to avoid issues we don't do it anymore. Q. Will there be new packs designed with the helps of players? A. As this is not a contest where we asks players to "create" something, but we work with their input instead, it's possible we might do it again in the future. But for now it's not planned.

Q. How do you create a character? A. I try to think of archetypes and be original with them, crafting a back story and little details and quirks that make them real and likeable. I also try to have characters for all tastes, either in behavior or design. the other challenge with MCL is to be original within all existing characters, to not do repeats so this is a workload that has been piling up because it applies to everything (character designs, illustrations, scenes, situations..) Trying to always come up with something new is always challenging. Q. What images the LIs have on their computers? A. Roy dolphins obviously. Amanda, probably bunnies. Thomas some space/galaxy picture I think. For Jason and Devon I'm not sure… 🤔 Jason most likely never changed the computer default wallpaper. Q. Will we See Jason blush? A. Jason is a confident man ! He doesn't blush much XD The sprite exists, but is unused for now. Request noted.

Q. Is Ioan ever going to show up? A. We have a sprite for him, him showing up has always been planned in the story, he will appear but later on.

[imagining-in-the-margins]

Undercover Challenge 🕵️

These prompts include situations in which someone is undercover! Reader, Original Character, Character/Character ships, Gen/Platonic fics are allowed! Please check out the Rules below the Keep Reading.

This event is over (Masterlist of Fics here), but you are welcome to use any of these prompts. If you would like to be added to the existing Masterlist of entries, please check out the Rules below!

General Prompts 🔍

Characters go undercover as a married couple.

A goes undercover as an escort to gain intel on B.

A feigns distress while undercover and is surprised when B saves them.

A goes undercover as a sex worker. B is shocked by their sexual persona.

Halloween masks offer the perfect opportunity to snoop on your coworkers.

A is excelling at their undercover work... until B shows up, also undercover.

Character goes undercover to a mystic who immediately identifies them as a spy.

A struggles with the more psychopathic aspects of their undercover work. B doesn't.

Character becomes close with their agent handler... they've never felt so cared for before.

Character is an investigative journalist trying to learn about the inner workings of the BAU.

It would be a lot easier to pretend if Character wasn't actually in love with their partner.

A thinks they've successfully tricked B... when B leans forward and speaks directly into their wire.

Character is surprised when their undercover partner is very good at pretending to be in love with them.

A becomes worries when B gets injured on an undercover mission that they were supposed to go on instead.

Character goes undercover as a stripper. This is how everyone learns they already knew how to pole dance.

Characters are both undercover, but think the other is in the organization they're investigating. They learn nothing.

Anything else you can think of!

Dialogue Prompts 🔍

"It's not real." / "It feels real."

"You should dress like that more often."

"You look... different." / "That's kind of the point."

“Did you really think this was going to work on me?”

“Your diamond ring is fake.” / “So is the engagement.”

"Maybe in another universe, I could’ve been different."

"You haven't even scratched the surface of my skillsets.”

“I’m just acting.” / “Oh? So you can make your heart race on command?”

“We should focus on the mission.” / “I’m trying, but you’re making it very difficult.”

“I know you have to go undercover, but do you really have to dress like that?” / “No, but I look good, don’t I?”

Rules

Your fic can be a Reader insert, an Original Character, a character/character ship, a platonic ship, or a Gen fic. It can feature any Criminal Minds character. AUs and crossovers are more than welcome.

Tag me in the fic, or send the link to me in a Direct Message. It can be already written, or you can write it for the challenge - I collect both! You can also tag “#mentioningmargins”

The fic can be any genre, but ONLY send me smut if your bio states you are 18+. I DO NOT WANT smut written by minors. Ever. At all. I will check. Platonic ships and pure, fluffy fics are 100% allowed. Please also include some indication of rating if it is NSFW.

Please include Content Warnings and a one-sentence Summary of the fic in your post. For xReader fics, PLEASE specify if your reader is Female, Male, or Gender Neutral.

Have fun!

Feel free to message me if you want help developing a plot, have any questions, or just want to gush about your fic. I’m happy to help, and I’m happy you’re here ❤️

Happy writing!

[ckret2]

Hey gang, time for Crowdsourced Brainstorming Time

for reasons, I've got to write Mabel and Bill watching (at least large chunks of) a full Color Critters episode, which means I need something more in-depth than the quick snips & summaries I've done for previous episodes, and I feel like brainstorming a kids' cartoon plot is the kind of thing where twenty brains are better than one.

The goal: episode plotlines that sounds like something you'd find in an 80s Care Bears or Rainbow Brite episode. We're going for "run-of-the-mill episode," not a plot you'd expect in a pilot or a finale or an exciting two-parter special event

the premise of the show: anthropomorphic animals are defending colors, which are magically tied to different concepts. Example: the color green and friendship: when friends are fighting it kills nearby green things and if green things are destroyed it negatively impacts nearby friendships. it's for kindergarteners and teaches simple life lessons that people in the 80s thought were a good idea.

And if you haven't lost interest in this post yet, I'm sticking the available characters under the read more

Good guys, the colors they're in charge of, and what that gives them power over:

Prisma the Rainbow Fairy - rainbows, white, light - she's basically just Rainbow Brite. Everyone else's boss. Unofficially the main character.

Glory the Unicorn - pink - no particular domain, just Prisma's second-in-command and bestie. A bit of a worrywart.

Leo Proud - Red - life, exercise, playing (especially active play like sports)

Teddy Tender - orange - health/healing, fun & enjoyable things (less active play like board games)

Sunny Cat - yellow - sunlight, self-confidence, personal strength/power/assertiveness. she and Leo are cousins

Love Bunny - Green - friendship, love, nature

Howell Wolf - Blue - creativity, storytelling, magic (he's a wizard, he's got a wizard hat). he's besties with Leo

Misty the Dolphin - indigo - serenity/harmony, cooperation. She can't travel most places due to being a dolphin and gets used in well-intended but dated episodes about accommodating your friends with disabilities.

some bird I haven't named yet, maybe a peacock - purple - spirit

Bad guys:

Duke of Smog - the Big Bad, floating cloud of purple-gray smog with red angry eyes. He only takes an active role for special occasions like the pilot episode and season finales; otherwise the other characters frequently reference him but he's rarely seen. Wants to destroy color and goodness. No Heart mixed with that one creep in the Rainbow Brite pilot two-parter, what was with that dude anyway, they built him up so much as a villain and then bam he doesn't even survive to be part of the actual show

Serpent Grey - the second-in-command and most frequently seen bad guy. snake that has a mane for some reason. Bosses around the rank-and-file bad guys, cowardly dumbass who thinks he's a courageous genius. Shreeky mixed with G1 Starscream if he wasn't trying to overthrow megatron. If this show actually existed in the real world and I had watched it at age 7 then Serpent would be my favorite character and I'd probably have shipped him with the Duke.

a big fuzzy tarantula I haven't named yet - well-meaning bumbling dumbass who doesn't seem to realize he's one of the bad guys and is just happy to be included. Think Lurky.

a bee I also haven't named yet - the most important thing to know about him is that in season 1 he was a bad guy but then a special interest group angrily wrote the TV station to say that bees are so important to nature and agriculture and it was shameful for a children's cartoon to teach kids that bees are bad guys and so in season 2 he inexplicably joined the good guys and it took half the season for them to air an episode showing he switched sides because the other bad guys were bullying him and the good guys were nice.

"Hey Puff how come you can describe the bad guys in so much more detail than the good guys even though they're much less important?" don't look at me

[crossdressingdeath]

You know what? I think a lot of DAV's biggest plot weaknesses ultimately come back to DAI, because a lot of them can be summarized as "Why didn't they get into [thing that DAI set up]" and... the answer is that Bioware was never going to be able to meaningfully engage with those things, and they should've known that when they wrote them into DAI. The Divine, Kieran's existence, Urthemiel's soul, the Well of Sorrows, all that stuff DAI set up that people are mad DAV didn't focus on? All of those should have led to pretty big alterations in the worldstate, and the worldstate has to remain roughly the same for everyone. We were never going to get the massive impact those choices should've had, for the same reason the Warden's boon at the end of DAO was quietly forgotten about as soon as Dragon Age became a series instead of a standalone game: the writing just can't support choices that would create such massive divergences. Like... take Urthemiel. Whether or not Mythal got Urthemiel's soul (and by extension whether or not Solas potentially had the chance to take it) should have been a huge deal! It should've led to two pretty different paths! Except... it can't. Because Bioware can only write one story for each game they make, which means the critical path can't really change beyond flavour text and occasionally which character gets a cameo slot; Mythal didn't get Urthemiel's soul in every worldstate, so Urthemiel's soul can never be relevant to the main plot. And the thing is, they would've known that going in! DAI was the third game, they must have known that worldstate variation could never be more than flavour text and cameos! Hell, you can see Bioware scrambling to make all the Divine options more or less the same in terms of impact on Thedosian society in DAI, which was definitely done to make writing sequels feasible. So why did they write Mythal getting Urthemiel's soul into DAI? And it's the same for all those other big, story-changing choices. People have differing opinions on the merits of including variable flavour text just to say it's there but that's not what this is about; in terms of the actual plot the variables cannot be relevant (unless it's something like the Warden ally choice where every option is ultimately the same in terms of plot impact, and even that one's pushing it; it never is explained how Hawke ended up friendly with Loghain). I think when talking about choices from DAI that DAV didn't engage with it's important to take a second to ask yourself if Bioware could have written a version of events that worked equally well with every possible outcome of that choice and could be tweaked to engage with every variation without having any major impact on the main plot. If the answer is no I think it's better described as a DAI problem than a DAV problem, because it's not actually DAV's fault that DAI wrote checks it couldn't cash.

[raven-at-the-writing-desk]

Dear Raven, do you have any opinion on the Tangled event in terms of it’s “story”? Cause I personally feel that it was rather underwhelming…

I have a lot of thoughts about Wish Lantern, so I'd be more than happy to expand on those here. First of all, I think a lot of us were underwhelmed by this event because we went in with a certain set of expectations. We thought this would be THE Riddle event and hyped ourselves up about how this would further his character development. And technically, the event did do that--even if said development was only relevant for parts 2-7 to 2-13, and the final part, 2-18. I think we just weren't fans of the execution. Rarely are story events contained mostly in a single room--but Wish Lantern was. Rarely are modern Twst story events a mere two episodes long--but Wish Lantern was. Rarely do story events call for characters to just stand around and reenact the exact same things the Disney characters did--but in Wish Lantern, they do. It was just a storm of blandness when I think we were wanting and expecting to explore a new place, and more in-depth exploration of Riddle's complicated relationship with his mother, especially considering we got Wish Lantern right off the tail end of his book 7 dream in the JP server. But we didn't get that, so many people ended up disappointed.

Now, how do I feel about it? Well...

I think I get what they were going for by cramming everyone into the library. The devs were probably trying to show us how claustrophobic and suffocating it is to be trapped inside and stripped of your freedom. They wanted us to feel the same way that Rapunzel did up in her tower, and they did it all without telling us to our faces "doesn't it suck, don't you feel awful about this?" But the problem with this setting is that it also makes for a dull story, especially when you combine it with the fact that Riddle and the others come to the stunningly stupid conclusion that they HAVE to live out the same life the Princess in the Tower did to get out.

We never got an explanation as to why this chain of events was even set off by the lantern to begin with. As a writer myself, this really bothers me :/

We got NRC library lore, but it was not that interesting because this could have been easily guessed, given the age and elite status of the school.

One bit of new lore I thought was very interesting was Jack saying that only a handful of mages are authorized to move humans using magic + there are restrictions on this kind of magic. This fleshes out the magic system of Twst and the laws around its use.

I found it silly that Riddle was the one to suggest that they pretend to be princesses and that this is what would help solve their problem. That's so nonsensical and such a huge leap of logic, I expected it of KALIM, not Riddle. (Maybe you could argue that Riddle has a desire to let his inner child out, but I do not see current day Riddle so overtly expressing that; he has shown time and time again he is uncomfortable going outside the bounds his mother laid for him, and that includes acting in traditionally immature ways.) And not only that, but why did they all insist and automatically invest so much in being princesses, and continue to dig into details about the Princess in the Tower's life, truly believing that reenacting it would get them out of this bind??? I know it's for plot convenience, but it was so contrived. They literally had no proof this would work yet kept acting in ways that implied they genuinely believed it would work. Why wouldn't they just believe "okay, this isn't working" after changing into their new clothes, makeup, and hairdos and try something else? No, instead they just fully dedicated themselves to this reenactment strategy after questioning their assumption maybe once or twice.

The Princess in the Tower is even a FAIRY TALE in the world of Twisted Wonderland. It's not actually a part of their history. The characters point out (at multiple points in the event) how silly the fairy tale is or how little sense it makes. So... that gives them even less reason to believe in reenacting it as their solution.

Shoutout to the part where Jack talks about how tight his shirt is in the chest area (boobs too big, lol) and how he had to alter it to be more comfortable for him...

There were strange parts where the event was like a... poorly written locked room mystery? In a good mystery, the reader is handed all the clues to come to their own conclusions. In a bad mystery, important details are not given to the reader, so there is no feasible way for them to come to their own conclusions until the story tells them that missing crucial information. This happens a few times, with Ace handing Riddle "something he'll need" (which turns out to be a frying pan), Riddle "taking a long time" to jump out of the window (because he was contacting Silver to tell him to bring Vorpal), and Vargas giving them climbing rope (to aid in their escape). We only anticipate these things to occur if you're familiar with Tangled already. If you haven't seen it, you would have NO IDEA what is going to happen with these scenes.

I liked that every NRC character, including staff, got their five minutes in the spotlight. We don't often get events like this, so I appreciate them when they do happen.

Mom!Jamil was so very prominent this event 💀

Jade killed me when he showed up wearing THAT STUPID VARGAS CAMP MONSTER MASK THING.

... Remember what I said earlier about how it's confusing how Riddle, Jack, Deuce, and Kalim are throwing literally their ALL into these hobbies??? Well. Leona comes in and tells them it's inefficient to do that. Why are they trying to play an entire game of chess when moving a single piece is enough to constitute fulfilling the (supposed) requirements? If they were so worried about the time crunch, they should have been more economical with their time and spent the minimum amount on every activity, not spend hours trying to do each one. AGAIN, I HAVE TO GIVE IT TO KINGSCHOLAR... HE IS CORRECT. Of all the characters, I can only really see Riddle being anal about doing everything perfectly, but the other three could easily coast by on the bare minimum.

This is a bit of my book 7 salt spilling over into this event, but I kept having this nagging thought that Riddle and co. (+ Crowley) seem VERY concerned with escaping the library before it rolls over to the next day. Like... I understand why they're worried--but they oddly do not demonstrate this same level of urgency for most of the dream hopping in book 7 even though the stakes are much higher there. It doesn't make sense to me...

The devs got creative with the framing of this event; there was the diagonal slice and then showing two characters in two different locations speaking, as well as the Jamils low fade in + vanish.

The new music tracks were nice; one emulated the Kingdom Dance, and the other was a combination of the instrumentation of When Will My Life Begin and At Last I See The Light, which I appreciated.

The rhythmics/twistunes were cute. Nothing else to add.

I did like the character development we actually got for Riddle—I just wish it came attached to a better event and was executed better. His development is sort of poorly spaced out (especially when compared to Deuce in White Rabbit Fest), the event itself is short, and Riddle doesn’t even bring up his mom until 2-13… when the last part is 2-18.

I still felt that the parallels between Rapunzel and Riddle were sufficiently conveyed; it just requires reading between the lines.

I loved that they made a point to mention that the Princess didn’t know she was kidnapped by a witch because the witch provided all that she could ever want in her tower. Delicious food and lots of things to do… why would she ever go against someone that provided these amenities for her? It is similar to the mindset many abused children have—simply because an abusive guardian provides for them, children are compelled to give them grace and feel guilty about disobeying. These kids don’t realize they are “kidnapped” (under the abusive guardian’s thumb). The same goes for Riddle.

When I think about it… the window is an important symbol for Riddle. The manga more explicitly shows us that Trey and Chenya knocked on Riddle’s window to get his attention. It’s also through the window that Riddle escapes to go play with them. Now, again, a window is his escape, and, learning from past experience, he hesitates to take that route even though it is so easily accessible. I've decided... Never again. Almost made me gasp out loud, honestly. This was the part I expected from the start, and Twst actually delivered.

Another point I feel is very important is how Riddle consistently brings up the rules as a means of depriving himself of basic things like food (because you cannot eat in the library). The others have the be the ones to convince him to take better care of himself. He even has trouble jumping from the window too—and this is the same as Rapunzel. It’s not that they cannot leave the tower. They can leave anytime they like—but they trap themselves in it, psychologically speaking, due to how they’ve been isolated and controlled. That takes real strength and willpower to overcome.

It’s great that Jack, Deuce, and Kalim support Riddle through this tough decision-making, even if they’re blunt about it. (Sometimes bluntness is what he needs to really snap into action!!) “I don’t want to see you turning into a loser that uses the rules as an excuse to not act.”, “Are you planning on staying there forever?” etc.

The ending nicely wraps up Riddle’s little arc. He connects the dots that both he and Rapunzel broke the promises made to their mothers—but it was worth it to see this amazing sight, wasn’t it?

I happen to have my own Wish Lantern rewrite if you're interested in an alternate version of the event. As it currently is, it's okay to pretty good in the Riddle development scenes alone and has some cute interactions, but everything else surrounding that is pretty bleh.