#setting up stuff that will be relevant to the story. even if you dont know it at first

[romainlettusdinnerparty]

in honor of me starting my 2947829184th glee rewatch i wanted to post a light analysis of finn hudson vs mike wheeler that i was reminded i wrote down in a time i was (sadly) much more convinced of a byler endgame than i am now,, cuz i kinda had a point

here she is:

i would love for someone to do an analysis of byler vs kurt hummel and finn hudson (would like to interject here to say someone should definitely do this and do it better with like actually siting stuff) like how a show (also explicitly about outsiders) purposefully creates an unrequited gay man to straight dynamic and how entirely different that is from how stranger things sets up mike and wills dynamic.

i mean they’re completely different shows and glee is a satire so it might be hard to compare them 1 to 1 because glee doesn’t tend to give that much weight to any relationship in its like first twoish seasons but i think its a good example for how it would be so easy to just make mike so obviously straight and not at all into will (it wouldn’t even have to be about el, with finn its not about quin or rachel, its just that hes not into men and is into women) and they’re choosing not to, they are choosing to lean into that dynamic and (this is important for this comparison) NOT in a brotherly way, not in a familial way, their relationship is never once compared to that (mike and el’s is but thats not entirely relevant here). In glee kurt liking finn is much more about his identity than it is about a romantic relationship with finn, they explore their relationship in depth in seasons 1 and 2 (and never again we dont have to talk about it yes i am bitter) but it is never not once implied that kurt’s feelings could be reciprocated, no lingering shots on finn’s face while hes watching kurt, nothing flirty, finn shuts him down multiple times, finn knows kurt likes him, its not used as a big reveal because that is NOT WHAT IS PLOT RELEVANT!!

what is relevant is kurt coming out to his dad and kurt’s overall identity and learning to stick up for himself and finn helping him do that in a BROTHERLY way (by the end of season 2 their parents are married and they are literal step brothers, there is no way to misconstrue their relationship) if wills feelings for mike were not reciprocated or at least impactful on their relationship there is no reason to make the audience anticipate mikes reaction to them, to save them for a reveal with an incredibly plot relevant lie that has to be uncovered, this has to alter their relationship in some way and literally what purpose would it serve if it was just a rejection?? why would you wait to reveal that if its only purpose is then essentially will’s identity? if the point of season 4 was to build back up mike and wills friendship, why not use that is something they have to overcome in the beginning of that season? why save it as a reveal? the actors have harped on the fact that mike doesn’t know about wills feelings so when they are rebuilding their friendship this is at least not a factor for him. (back to glee) when finn and kurt were building their relationship as brothers and friends, kurt’s romantic feelings were acknowledged as something they had to work through, they were not saved as a big aha moment because they wouldn’t have changed things. bottom line is that the reveal of wills feelings will change the nature of mike and wills relationship and there is no reason (besides like a villain origin story? thats all i can think of. cuz his arch isn’t about figuring out he doesn’t need romance or that he has the love of his family and boys arent important, he doesn’t have romance and the entirety of seasons 1 and 2 were about how much his family love him and the whole boys are stupid thing is for el) for that shift to be in the form of a rejection

[the-gaping-wound-of-christ]

ID LIKE TO REBLOG RAGING LOOP SPOILERS

what is raging loop you ask? its a visual novel about....what if the game werewolf was anime and really cool. jokes aside, some guy called haruaki fusaishi finds himself in a remote village after a motorcycle accident and the place is surrounded by a strange mist that prevents its inhabitants from leaving, while some of the villagers turn into werewolves and must kill each other... im not so good at summarizing but this is basically it.

am i recommending raging loop?...............yes and no. i cant recommend the whole novel in good conscience because uh it really goes places. it has non-graphic depictions/questionable inclusion of pedophilia and rape i really dont agree with (THE NOVELS FOCUS IS NOT ON THIS STUFF BUT IT IS RELEVANT AND WILL COME UP OCCASIONALLY) but even without that the story takes on a direction and has revelations that are...just not solid.

the first route of the novel is excellent and perfect you can just read that and stop afterward. but i feel like natural curiosity would get anyone to venture further. i do think the first route is worth reading though its simply that good.

with that being said ill reblog this post a couple times and if you have any interest in reading raging loop yourself i recommend you blacklist the tag "#raging loop"/"#raging loop spoilers" cause thats what ill be using

a little more elaborating under the cut

i have immunity to anime bullshit but even i got a bit frustrated at times with this novel. the more the story goes on the more muddy the quality of it becomes...the end is really...a mixed bag. im still not sure how i feel about the resolution of it all. but the werewolf discussions are the best part and it has a lot to offer in terms of interesting characters. for one the protagonist of this is fucking insane and i need him badly. but honestly theyre all good characters i can barely think of anyone i didnt like. its just a shame the flaws are what they are. the novel is smart in so many places, the humor is great and the concepts and set ups so interesting and cool.....the music is so awesome the voice acting so good... if only they consulted me specifically before publishing it...with that being said the story still has great moments even later into it but its just ughhhhh . if you know you know.

[sleepy-vix]

What would your ideal book be like (as in, what theoretical book would be your absolute favourite) what genre, page count, setting, characters, etc would it have?

oohhhh this is such an interesting ask. hmm i'll have to lay this out in dot points

BE READY FOR LOTS OF TEXT!

also i am indecisive and messy so my opinions will probably change idk T-T

alr here we go

- genre: psychological novel? im not exactly sure what the genre is but i love when books follow a mentally ill character that's just trying their best to navigate through life, and the book is about the way they interact with their surrounds and respond to issues and cope with their past and come to decisions, iykwim?

BUT I WANT FANTASY in it too so it will be epic. i love fantasy world building and i love when it makes so so so much sense. it would be cool if they had elements and got sorted into elemental groups too- that is so satisfying and fun to read.

- page count: probably 500. personally i think a normal book is 300, and it seems daunting when it's got like 700 pagesz but considering that this is my ideal book, i think i'd be sad if it had less than 400 pages (cus the story would be over soon) so i'd say 500 pages is the perfect amount.

- setting: in terms of time, i never really cared for it. i realise that i should probably have a preference on which century i like to read, but i find that characters can be mentally ill and epic no matter if they are from the future or the past.

in terms of location, hmm i wouldn't want to read about a character being anywhere with tropical or summery vibes. i like my characters knee deep in snow and drenched from head to toe in rain. it keeps them depressed and relatable ^^ (/hj....?)

oh also it would be cool if the country and places were mad up, since that this is a fantasy.

WAIT OR asia. i am obsessed with books that focuses on/is based off asia :)

- characters: trios are the best and i will die on that hill. ok like i dont need the trios to be together 24/7 but i need there to be THREE main characters if you know what i mean. one of them can be an antihero idc. it just has to be THREE.

oh also i love to read in the perspective of characters who are ambitious and feisty and impulsive because they're the opposite of me. but also i'd like them (idc abt gender) to be cunning, witty and good at making plans.

another character that i need in the trio is the smart one. there HAS to be a smart side character or else i will NOT fall in love with the book. i need the character who makes all the entensive plans. i need the character who is a walking dictionary. i need the character who hates to fight and would rather be learning but is somehow good at it and therefore forced to fight alongside the makn character. (oopsies im just describing the poppy war. but that is not a crime ;])

if its a soldier poet king trio i will be obsessed with it forever and ever

ok so for the stuff that u didnt ask but im gonna include:

-writing style: advanced. work my mind to death but enrichen it at the same time. i dont mind a difficult and layered magic system- in fact i LOVE THOSE, as long as they make sense and they are creative. do not give me that "she let out a breath she didnt know she was holding" bs.

i want "the night circus" level description when it comes to settings. i need to see taste hear smell FEEL the fucking surroundings

-vibe: doomed from the start. i dont want my characters to be happy. make me fall in love and then break my heart and do not apologise for it :,) (shit am i masochistic? damn)

- others: it would be cool if it is somehow relevant to our present irl current political state/ real world problems. it would be even cooler if it somehow fits a ton of mitski songs. also gayness is very welcomed

yeahh thats all i got for now. oops i wrote alot. at the start of my reply i was thinking along the lines of solitaire and crime and punishment and no longer human, but then it was all scrapped and i based it all off of the poppy war trilogy because it did fantasy and character dynamics/personalities/backstories SO RIGHT.

tysmmm for this ask. i would love to ask it right back, but i dont know who you are :(( ahsvsj feel free to tell me anyways tho in my askbox as an anon !!

*this was not proofread

[prpfs]

hi, im cee (26) and im looking for a long term 1x1 rp partner! i have a specific plot idea or two in mind that i've been really wanting to do, so id love to find a partner for it! 🐈‍⬛

the main plot ive wanted to do is royalty omegaverse. your character has taken over my char's kingdom in war, and claimed the prince as a war prize. he is, however, a rather pitiful and traumatised man, making it rather difficult to be mean to him as one might plan to be. this plot can also work with your char being a prince, and the leader giving my char to yours as a husband. i'm open to swapping some details around, as long as the "my char is a war prize" jist stays.

my idea with this story would be more of a romance story, hurt and comfort, healing from past traumas, that sort of thing. id also love political drama, troubles within your character's kingdom that these two have to sort out - or anything with a lot of drama, angst, and high stress emotions, really. i'd especially love if this was set in omegaverse reversal, where alphas are lower class and omegas are upper class. ive been wanting to play with that dynamic.

(im also fine with it if you want to be mean to him, or even something like they go from enemies to lovers!! im really open honestly)

the oc i plan to use is an alpha catboy. he's got a nice face and is quite anxious. he has a defined personality, appearance, and backstory that i'll ramble about in DMs. i also have a lot of side characters from his past that can be relevant. overall i love to rp as men with problems, and exploring deep emotions and stressful situations for characters.

i mostly play domtop, with occasional subtop. i dont like pure smut rps, but i dont want to only fade to black - please be ok with writing scenes or ftb if scenes are frequent.

MUST HAVE: MxM, shipping, at least a bit of fantasy, dead dove themes, semi-lit to lit length, 3rd person

LIKES: multiple threads, modern fantasy, humanoid creatures, magic and wizards, slice of life with lots of drama, angst, hurt/comfort, texting rp on the side for when we're low energy 👀

WON'T DO: incest or 🍪 (not even in backstory please), animal/child torture, FxF, space setting, robots, IRL faceclaims

note that if something isnt listed as a "won't do", im open to discussion! i probably just dont have a strong feeling about it.

PLEASE BE OK WITH: suicide/self-harm (usually just idealisation and desire; sometimes failed attempts), depression and self loathing, sexual assault (usually between npc and my char, and usually nothing on screen), and gore and graphic depictions of injury or misery.

additionally, this rp will require you to be into things like worldbuilding, playing npcs, and being willing to toss in villain characters. i can and will do all of this too (prepare for me to come up with questions about your kingdom that you'd never expect), but you also have to put this stuff in.

in a partner, im looking for someone who can do daily or semi-daily replies (and tell me if things will slow down!). i also prefer a lot of ooc communication and chatter! i like to hang out and talk about the rp, our characters, or even just things im up to. i also love coming up with AUs and side stories and the like, and would love if you were open to listening to my ideas or even sharing your own.

please do not interact if you ghost. if you want to drop, i want you to at least send a goodbye before you leave so i know it happened. i'll leave an rp if you dont post for like, a week without any ooc word

thank you for reading, and please like this post or dm me if you would like to rp together!

like or dm

[chronotopes]

Insane question so no obligation to respond, but for talk shop tuesday how do you square the circle with regards to the sort of contradiction between al2rnia as originally developed and al2rnia as continually worked on(i admit i dont know how applicable the latter is to you but aivide the prequel was still being edited fairly recently into last year and i dont doubt you have some input vis a vis vinbre the epilogue) with such a large collaboration i cant imagine even the majority of original artists are still interested in the project and of course the scope of the narrative has shifted substantially, in conclusion what is the fate of justay cowboy

omg, insane question but a very fun one! your question is almost two questions, the first one being how to square my own artistic process/evolution as al2rnia evolves in the way i and other people write it, and the second being how to square written material (atp, vtn) with the greater al2rnia paratext presented by People Saying Things In A Discord Server. they're two distinct approaches to me, at any rate, so i'm going to address them separately.

regarding PART THE FIRST, the real answer is that i just have to address the Mortifying Ordeal of Publicly Editing My Work. Aivide parts one and two were uploaded to ao3 when i was 20 years old and i have been very sneakily adding stuff and moving it around as time goes on, both in terms of my own evolution as a writer and in terms of new stuff happening in vinbre that becomes immediately relevant to aivide. is this a particularly effective way to construct a narrative? not really lmao, and in another world i would have revised and uploaded aivide in its entirety post-vtn completion, but i can't blame 2021 me for wanting it in public, so there's really nothing to do but say "this is on ao3. it is not a big deal." and make the evolution of the story a semi-public process.

regarding PART THE SECOND, i think it's a question of clear delineation between what is on paper / immediately relevant to the scope of my project, and what is not. things about characters created by not-me that are relevant to aivide include many of the events of vinbre the novel, given carett's connection to nora, sasara's life and online self-presentation at age 22ish and older, eubala's life trajectory and current position and demeanor, and raigne and bettah as they are when they work in eubala's office. i feel a very strong obligation to write those parts of the world in a way that is true to the things established by my collaborators, and it's my job in that sense to not really trouble myself more than i need to with things that are not directly connected to the project at hand. it would have been very self-deluding and counterproductive to approach aivide the prequel with the task of "THIS IS PART TWO OF ???? IN A GRAND EPIC FANSESSION WITH ???? NUMBER OF CONTRIBUTIONS!!" aivide the prequel does set up some of her ingame stuff to a very limited extent, but the story has to be able to work without that.

so i guess tl;dr i have not ever troubled myself overmuch with the fate of justay cowboy in the process of writing aivide the prequel, because i have approached it with the mindset that the only Truly Established texts i'm working from are vinbre the novel, which immediately precedes it, and the aivide characterization-relevant plans i've discussed that i feel very confident about the large-scale stability of. vinbre and aivide's stories as published are compelling stories as the novels they are, with or without the greater context. the materiality of the world that esther and julia established and i worked from in aivide with their help really helps with that. so i guess the answer is that aivide the prequel is not set-up for anything except for the things i'm completely confident about or have discussed with friends as relevance dictates, and it does not directly build on anything except for vinbre, which is now published and complete. and really good.

[iersei]

THANK YOU for being able 2 put it into words on that post..... despite s2 having so much of my favorite characters (terry jr and scary) i just... have struggled so hard with caring since the seasons been in full swing and it feels like the world in s2 isnt taken as like... genuinely enough i guess? and season two is very funny and entertaining but thats... all it is. any emotional arcs feel quickly forgotten & almost not at all drawn out and it feels like a mess with how often characters are just straight up forgotten,,, i love dndads and there was such a great setup for season two that i think just. fell flat in execution. even when nicky came back anthony admitted he called him nick Foster because he wasnt thinking at all about it and didnt care, and like. at a certain point even in a d&d setting you have to care about the characters youre making plot relevant at least a little bit, and suddenly the close family arc had nothing to do with season 1 and instead everything to do with stuff that happened completely offscreen (and again, once the dads were charting around with their kids they were often forgotten & added little to any scenes) just. it all got a little careless.

and im not caught up but ive heard about so much junk that happens in the... less than 10 episodes im behind on?? like i JUST got to the titanic part and it ends, what, 9 episodes later ??? i just wish it was more organized and theyd allowed themselves to like. take their time with things. i know the 20 or whatever episodes of glenns arc in s1 is known as 'too long' or super hard to get through but thats also how it made such an impact!! there was ALOT to get through and a lot happened to the close family. yet when alot happens in s2 its like, well that happened, and in an episode and a half it will never be mentioned again . even supporting npcs especially with a lot of potential dont stick around unlike characters like paeden or walter or even erin who got her own wrap up like. i dont remember the last time anyone even mentioned mae hails. yeah theres a degree that its messy and unorganized because thats how teenagers are but theres only so far that goes. and im pretty forgiving in d&d settings because 90% of what actually happens is up to random chance but theres a difference between 'this isnt good because im not actually writing it, and i dont have total control over this story' versus 'this isnt that good because we're not playing it that good'.

anyways. um. hero oak swallows garcia i hope i see you again soon 👍

I THOUGHT YOU HAD TO BE JOKING ABOUT HOW RECENT THE TITANIC WAS UNTIL I WENT BACK TO CHECK THE EPISODE LIST AND. NO. NO, YOU WEREN'T JOKING. THERE'S ONLY 10 EPISODES AFTER THE TITANIC IN THE WHOLE SEASON. WHAT THE FUCK.

these kids really never had any time to rest, and it's actively hurting the narrative tension to the point that i just want them to be left alone </3

i can't fucking believe that they didn't care enough about nicky's whole deal to not even think about the implications of everything that happened to him. that felt like it should've been a core aspect of his character! and they just didn't care!! about that aspect of his family dynamic!!

i think that, at the end of season 1, the close family and the oak family had dynamics where it was understandable for issues to pop up offscreen. and i do think the underlying threads made sense to a degree! but it was so thoroughly unexplored in both families that it just made even more of a mess and all the characters involved suffered for it.

and i'm gonna be honest. i completely forgot about mae hails. man. man.

they all deserved so much better.

[literalite]

literally just me talking about edit stuff because im in a mood

these r what i would call like my base level of ingame edits (i dont reallyyyyyy count my cas screenshots as edits unless i spend an actual amount of time actually working on them rather than my usual blur+chromatic aberration+sharpen combo) theres usually very little? or like no actual basis in the characters "canon" or lore like its just done to make them look nice. right. or like its fun lighting practise for me really. theyre usually pretty simple in execution like in the two examples there its just plain yellow background for sunny and the neon cross for vin so i have to put a little extra oomf into it because the backgrounds are like not super detailed so theres less of an "interest" factor from that so the sims themselves have to look REALLY good to make up for it. the ones i end up happy with though usually look really dynamic so it balances out

so these are more sort of abstract edits to me bc they have a basis in the oc lore or themes or whatever and most of my ocs have at least one or two visual markers (in the examples lucari or even just ari specifically gets a fair amount of celestial/sky imagery, i handled the colours here a bit sloppily but its meant to be blue and purple which are ari and luca's text colours, heiya's emphasis being on her muscles and scars and the clouded solar eclipse, redacted gets a lot of water/reflective surfaces/birds/rainbow flares?? and also lightning but that isnt being used in this specific one and sunny gets a fair amount of fire/smoke stuff as well as emphasis on primary colours like his more blue toned edits r usually in his darker stages of his life while warmer yellows means more positive stuff, red usually is just for uhhh violence oriented stuff) and like none of these are Actually happening. right. redacted isnt actually ever in that position with that era of hair in the water with the birds and sunny was set on fire at 13 not as an adult and they certainly never had a portrait of his family like that. but its symbolic, it means Something even if you as the viewer doesnt know it yet 😅 or ever aha

OKAY LOL I PRESSED POST BY ACCIDENT LOL but these are my full lore edits or something likr theyre totally rooted in the background of the ocs. like these are scenes from their lives for real. obviously i fiddle with lighting angle composition a tinyyyy bit to make for a more pleasing or dynamic image at the end but if my ocs all got dedicated like. movies or shows these would be ripped straight from the scene. i take creative liberties with some stuff but in essence these could be story posts (like the 3rd example with idris/redacted is literally in the story itself in one of the posts) the difference is usually amount of images in the post and orientation of said image/s. to me an edit stops being an edit when it has more than likeeeeee 4 images and then i will usually keep that bulk all in landscape or maybe one as portrait for emphasis. edits will be 4 or less and mostly in portrait because i want the less images to take up more room on the dash. the backgrounds for these will usually be way more complex like ill build a mini set or use existing sets for each one. i just think that ingame edits have a lot more capability than you might think (u dont have to go into blender for every little thing promise 🙌🏼) its just like. u can do a lot with this game i swearrrrrr just treat it like an art medium. im serious

ALSO the song almost always is sooo relevant to the edit i swear its not enough to sound good. i have to be unwell about it as well and it has to make sense with what im showing u

ok thats my random unrequested ted talk for the day im going to go home now bye thank u for reading if u did that 😁

[randomwriteronline]

hey would you like some bionicle aus haha get in

A) g3 concept

this motherfucker. is a Big One. MANY thoughts on it, still trying to iron out some of it. heavily based on g1 but with g2 elements that are nice/interesting to me specifically Such As the mask making via elements deal, ekimu, and the okoto setting. i am Cramming As Much Mostly Relevant G1 Things In This As Possible. includes all main toa teams so mata, metru and inika as well as the chronicler's company, Lhikan lesbian ver, several of the Makuta, the Barraki (who are actual animals and also a polycule because why not) and a MNOG-like Makuta who honestly loves and cares for his brother the Great Spirit and thinks putting him in a coma will help. also pewku and jaller's crab. theres even a voriki implication. i have a big post in the drafts for this and perhaps one day it will appear

2009-10 elements will not manage to be included nor will 2016-17 elements. the former because i cannot fit those lads in here tho perhaps bara magna life & survival will make it through, the latter because i havent seen journey to one and frankly i dont know if theres anything of value to take from it. please do yell at me at length in case you disagree. i am very serious abt that i want to learn more, its just that i cant be arsed to get netflix for anything

B) human g2015 au

classic modern times human au but with 2015 characterization bc i like the web episodes. the thoughts i have about this are nebulous at best but good lord if it aint good fun to think about

THE GOOD NEWS IS that while the main characters will be limited to the toa mata nuva, i can mention as many characters in this as i want. possibly all of them. they are just new zelanders now, they live there. they have jobs and stuff. im going to include the fucking moburzhak. i can even put the g1 mata in there as bizzarely omonimous different characters. i am a god

THE ALSO GOOD NEWS IS i can overthink characterizations you wouldnt even dream of so i can take these cardboard cutouts that are the toa and try to engineer something compelling out of them somehow through the power of incredible neurodivergency and this morbid interest in group dynamics i just found

the bad news is i have little to no plot yet. few story beats that i have are discovery of the powers ala superheroes, lewa getting possessed, pohatu having a panic attack, subsequent slow kohatu development from strangers to friends to lovers because im Fucking Weak For Them, onua leaving lewa underground briefly because hes fucking tired of his attitude, slow lewa/tahu/gali development from clashing to friends to what i can only describe as the human equivalent of a cat colony, stupid winter episode, and undecover mission in drag at a fancy place. most of my fully formed thoughts are for this last one but i still have no idea how this happens or why they have to do it, i just know that the boys make for a bunch of pretty ladies. i am just spitting ideas

also had more specific ideas regarding the main toa such as them being half maori and half another ethnicity (australian aboriginal/hawaiian/jewish/latin american/african just to give a few ideas), onua being aromantic and lewa being goth

C) Foster Parent au

also known as What Watching A Whole Ass Blind-Run Of Bloodborne While Having A Soft Spot For Toa-Turaga Familial Relationships Does To A Motherfucker AU, or also alternatively Superpowers? Divinity? WRONG! COSMIC HORROR AU

only features the Toa Mata, Toa Metru Hordika, Artakha, Karzhani and Velika. the Toa Mata are six parentless siblings separated at birth, bounced around the system until each ended up assigned one of the Toa Metru as their foster parent. weird elemental shit starts happening more prominently now that theyre in a safe and loving environment, and a mysterious man named Artakha who seems to have history with the Metru begins showing up insistently and intimidatingly demanding custody of the kids as their father.

its about the PARENT-CHILD CONNECTIONS and the SIBLINGHOOD and the HORRORS and the FOUND FAMILY and the PARENTAL LOVE and the HORRORS AGAIN

i DO want to talk about it but also i do NOT want to talk about it but also i will never write it so PLEASE ask me about it i am Begging You

[dogtoling]

hey do you have any tips for making splatoon ocs? I’ve never played the games but i’ve seen plenty of gameplay and lore videos and i want to make an oc but i have no idea where to start! You have super duper cool ocs and I thought maybe you might have a few good pointers for starting to make one!

first of all thank you, and second of all I have no idea what i'm doing but i might have some advice for making splatoon OCs. Really what kind of OC you want to make and how in-depth you want their story or footing in the world to be depends entirely on the individual person. It's pretty important to have a solid understanding of the world and setting but especially if you've done the research, you should have a pretty good understanding of how the game works, so that's already a good starting point.

First off, what I feel is important (and what i dont follow myself nearly as much as i should) is to figure out what kind of character you WANT to make, and then start drafting a basic concept based on that. When it comes to Splatoon, there's a lot of species to pick from (although Inklings are by far the easiest because they have the most context). But Splatoon also has a very unique setting and the world has potential for a lot of wacky things that you couldn't really focus on in other fandoms. So again, I don't do this that much myself, but making an OC that is clearly connected to the world and has a direct link with the series identity is always a good call. Once you have a strong start and a solid understanding of what kind of character you're working on (and you can change this later, OCs often evolve when you use them) it's a really good place to get started.

For example, you could make an OC that works at the grocery store (boring, we do that in real life). Or you could make an OC that works in collecting and selling Super Sea Snails from the woods and in the market stalls - we have markets, but there's also a hook of something that's Purely Splatoon, at its core - it is relevant to the WORLD SETTING.

(And also, by making up professions and minor things about the world, you're not married to what canon says or doesn't say. For example, everyone making their OCs work with Grizzco is kind of struggling with a vastly underdeveloped setting where Nintendo is still calling all the shots, because Grizzco is a real thing in the world, so you don't really have the freedom to make shit up and have to deal with whatever they say even if it's ridiculous.)

Second, and this is kind of important especially for people who aren't super involved with Splatoon: turf wars aren't EVERYTHING. Splatoon has weirdly broad worldbuilding for the type of game that it is. Turf Wars are just a sport - an extremely culturally important sport, but Inklings have Lives outside of Turf War and there's likely Inklings who don't do Turf Wars at all! What this tangent is getting into is that don't be afraid to set your OC footing that's unrelated to Turf Wars, and don't be afraid to break rules and come up with your own things for the world. There's a lot of wacky things going on and not everybody is going to do the exact things that are shown in the game. The curse and blessing of working with the Splatoon setting is that you have to be prepared to make up a LOOOOOT of headcanons for how anything works, because we really don't know a lot about... well, anything. The upside is that you can get really creative if you want to. Basically, it's good to use the game as basis, but you can really go places if you ONLY use it as basis and make up new stuff from there.

In terms of actual OC design: Inklings and Octolings are the easiest to work with due to the variety of designs we see for them in games and concept art. But if you're looking for other species, here's a list with species that appear in the Splatoon world. However assuming you're working with Inklings, I'd recommend looking at different species of real-life cephalopods if you want a character to feel unique. Base traits off of real squids or octopuses that exist (you could even use species as inspiration for what the character is like otherwise), but even outside of species, Inklings can have a LOT of variety in their body structure. So my point is you can do a lot more with Splatoon OCs than just making them a carbon copy of the playable characters in the game. Play with their body types, or eye shape, eyebrows, nose, ear length or shapes, et cetera. Inkling masks are also a good way to create interest in the design.

More Inkling-specific design: their tentacles. Now, if you're making a squid OC, they'll have 6 tentacles on their head - typically four shorter ones and two longer ones, although the game doesnt seem to differentiate on those much, judging by some hairstyles. Octolings however only have four tentacles, and they have suction cups on the outside. This is kind of the same as above: there are many canon hairstyles to pick from, but also don't be afraid to go nuts and do weird stuff with the tentacles. Inklings are known to trim their tentacles, cut them up into blocky shapes or even cut them into long strips or super-specific hairstyles that don't even really resemble tentacles anymore, and of course you can do different color combinations, scars, piercings, tattoos even. And of course if you're looking at real-life species as inspiration, you will probably end up getting ideas for the tentacles based on that. Basically, tentacles are often THE THING that sticks out about OCs.

The next best thing? Clothes. Full disclosure I really hate designing outfits (because I'm bad at it) but clothes do a lot to build character. Now, in Splatoon, clothes are REALLY not a problem because the game has such a big focus on fashion that you will never run out of options when it comes to what an OC should wear (Inkipedia has full lists of all gear from all games). But if you want to get really in-depth about what your character dresses in, there's also been blurbs of what kinds of brands the different clothes brands are and what kind of style they are known for - they have loyalists, basically. When it comes to gear, I personally don't like using the in-game gear much, mostly because I hate having to go out of my way to look at reference every time I want to draw a character. But there's a lot to choose from, and if you want to be original with it but still stick to the brand, you could make your own modifications of existing gear or make up fake new gear for your OC to wear.

But as a rule of thumb, what everyone wants from their OCs is different and I think the most important part is to just make something fun that brings you joy. So I hope this helped maybe? (I need to start using my own advice...)

[pandoratheprocrasticreator]

ngl the owl house has a habit of setting things up and never mentioning it again. it doesnt affect the story quality and you don’t even notice it unless you have brainrot about the show and overthink every bit of it like i do. the major plot points are all very well done and obviously they do a lot of foreshadowing and the whole setup and payoff for that. like luz eda and king’s arcs? immaculate. the belos/day of unity thing? yeah.

and it’s not even stuff they were obviously going to cover in a full season 3 but had to cut. like everyone talks about how the bat queen disappeared after hunting palismen and i know thats bc they didnt have enough episodes to cover that. and something like the blight parents divorce probably would have had more buildup but they had to truncate it. and while i think there were better ways to cut it, i understand why they wrote it like that. same thing with the collector he was obviously supposed to have all of season 3 to be fleshed out. and the titan trappers. gus’s relationship with his dad was probably going to get explored more. and while i think they could have given willow more screentime in s2, she would have had more development in s3 too. like we can all tell where they had to cut out major subplots and i dont think its right to blame the writers for not following up on those. and if they shortened a subplot badly, it should be criticized on the basis of there being better ways to shorten it, not on the basis of it being bad they shortened it at all.

but with that out of the way the show loves to introduce a cool plotline and like. literally NEVER mention it again? even if it would be interesting to explore in the show or come in handy in a future plotpoint they just. pretend they didn’t introduce that point at all? and don’t say “oh they might have expanded on it if the show didnt get shortened” im talking about stuff in s1 and s2a. the crew found out the show was being cancelled while producing s2b. (probably around the production of any sport in a storm? in the storyboards they included a picture of the construction coven head on darius’s scroll which makes me think they thought they could do more episodes since they were teasing something with a new character. also the azura subplot that episode REALLY feels like something they’d write if they thought they had more episodes to tie up the actual plot.) but yeah if the writers didn’t address some of the stuff they brought up in a season and a half i. really dont think they’re keeping track of those plot points now.

anyway the more i think about it the more BAFFLED i am? bc some of those plot points would have been hella more interesting to do an episode on than like. the bodyswap episode. a really small thing is eda’s potion business. aside from selling human garbage eda does have a side job. we see her and lilith making potions in s2 so they obviously can still maintain the potion business even if they can’t make some complicated potions anymore bc they dont have magic. eda does say she’ll sell edric’s potions in reaching out but when they were having financial troubles in separate tides no one mentions it? its one thing to say “eda's potion business is dead bc ppl keep ripping her off/bc she can’t make complicated potions” but they just. never mention it? and lilith’s scrying potion was just a way to show belos is building a portal. (they never even show the cauldron again so i dont think it was ever plot relevant) if they just needed her to get potion ingredients they could have just had her do that while trying to salvage eda’s business.

and also. the blight twins had the highest scores ever for the entrance exams? we see them being good at magic other times and they did touch on how amity feels inadequate because she isn’t naturally gifted at magic. idk i think there were themes of it but amity feeling overshadowed by her siblings and overworking herself to compensate wasn’t. too well explored imo. the resentment was definitely there. this one isn’t something that they necessarily never explored. i just think they should have explored it more. all siblings in toh parallel with the wittebanes and all.

something else they kind of forgot after like two episodes is how hunter was supposed to be spying on luz. in young blood old souls belos says he’ll “keep an eye on [the owl family]” and nods at hunter. and the look the pirate guy gives hunter in separate tides after he hires luz implies he purposely did that so hunter can spy on her. but then he...tells luz to kill the selkiedomus and never seeks her out again? what was the goal there? did he just not want to kill the selkiedomus so he decided to blow his cover for it? belos probably told him to kill it for the scales to make a new grimwalker but. hunter didn’t get any scales? what, was belos going to send someone to get the scales after hunter left??? and why did hunter never go back to spy on the owl family again? it really feels like they wanted to set that up at the end of s1 but when they were writing s2 they got bored with the idea so they pretended it never happened after separate tides.

my biggest example is how lilith was amity’s mentor of course. like. amity liked and respected her! she’s upset that lilith would trick her into cheating which further shows how amity expected lilith to be better than that! and amity being lilith’s “star student” implies lilith has other students. so does lilith have like. a gaggle of kids learning from her? is that why she’s friends with steve? lilith’s habit of mentoring a bunch of students never comes up again. like literally just replace flora desplora with someone she mentored who’s in the coven now it would make the same amount of sense and also have continuity.

and i see a lot of ppl toying with the idea that lilith was a parental figure/mentor to hunter when he was a kid but later grew to hate him because of coven politics and. yeah lilith can do a similar teleport dash to hunter he had to learn that from someone. and even if lilith never mentored hunter he was still a scout before becoming the golden guard so he probably worked for all the coven heads including her. and they probably worked together after he became the golden guard too. lilith definitely had some kind of history with hunter given her reaction to him in separate tides but when luz mentions lilith in hunting palismen hunter just. doesnt say anything? they never expand on that relationship again?

and maybe they just ran out of episodes to touch on lilith and hunter but that doesn’t explain why they never touched on lilith and amity after like 30 episodes. after covention they never interact again unless you count the 2 second shot where amity glares at lilith’s poster. even after lilith betrays the emperor and almost gets petrified amity never even asks luz about her. if they’d expanded on lilith’s relationship with amity and hunter at all eclipse lake would have been even more meaningful. lilith’s coven indoctrination probably contributed to the “you have to earn the right to exist” mentality both of them had. but by that point she’s recovered from that mindset. but the kids she mentored are still trapped in it.

some of the concepts they introduced in s2a also feel like this. like the ideas seem like it would be cool if they explored it. but it also doesn’t feel important enough to tangibly affect the plot so you suspect they might just not bring it up again. i already mentioned lilith’s scrying potion but there’s also how kikimora realized hunter was the one that attacked her in hunting palismen. (and just her subplot about political intrigue in the coven altogether) and gus and the looking glass graveyard. and hunter warning the blight parents about building a private army.

anyway none of this like. detracts from the quality of the show in any way. i guess these are just details from the show i noticed and wishe they could have explored? i know they probably did like a million drafts of the story but i think they could have tightened the story even more if they looked at it even more times. but yeah idk what the purpose of this is im just laying out all the stuff i wish they expanded on. im looking at this as like. a fanfic prompt. or notes for the owl house rewrite i wanna do after the show finishes, an alternate show made in a universe where michael mouse isn’t such a bitch

[irrigos]

this is only tangentially related to fl, but ive been thinking a lot about the genre of historical fiction where nobody is prejudiced ever (or if they are, it's in ways that aren't real, like being prejudiced against rubberies but not people of color, or are no longer relevant, like people in fl still being anti-catholic but not antisemitic. as far as we know anyway)

it's... interesting. it definitely has its pros, and i see why people would want to craft that kind of world to play in, but i also think it's worth acknowledging the downsides, too. also this post is really long but i couldn't find a good place to stick a readmore. look at my posts, boy

like, i get that nobody wants to write Period Accurate Racism Simulator, both for personal moral reasons (ie "I don't want to write racist texts") and for commercial reasons ("No person of color is going to want to buy Period Accurate Racism Simulator") but also... so much of society is structured around prejudice that historical stuff almost falls apart without it

i was in two Regency-era larps, and both of them were "no prejudice" alt history, one of which had a whole alternate timeline explaining why Britain was a global superpower even though colonialism didn't happen, and the other one... well never quite got around to explaining the worldbuilding. but both were in agreement that Queen Elizabeth I ended sexism forever (and also homophobia and transphobia i guess??)

but like... so much about what is iconic about the regency era (especially in regency romances) is the negotiation with extremely strict social rules, which were, at their core, about controlling women. a woman can't be alone with a man because that's improper! i mean... what if they fuck each other???? But if it's equally valid for this woman to be in a relationship with another woman, then... it would also be improper for her to be alone with other women? okay so she can't ever be alone... but if polyamory is a possibility, then i guess she can't be in groups, either, because they still might all fuck each other!!! so nobody can... ever be around anybody? of course, if we dont view a woman's assumed reproductive capability as a commodity that must be protected and secured, then we don't need to police who she is alone with, but then we remove the stuff that's fun and interesting about Regency romances! At this point, we're just writing regular fiction, but everyone's dresses are really high waisted.

And I mean, if we imagine a Regency era Britain where colonialism flat out did not happen... how are any of these characters this wealthy? How are they still using the products that were made accessible to Britain because of colonialism, like fabrics from India? If there were no colonies, then Britain didn't colonize North America, then there was no Revolutionary War, which means France didn't go into debt FUNDUNG the Revolutionary War, which means it wasn't in the dire financial straits that lead to the French Revolution, which means that Napoleon would not rise to power because of his military service DURING the French Revolution, which means the Napoleonic Wars aren't going to happen, but obviously we're still having the Napoleonic Wars because how are you gonna do Regency Era without its tentpole features, like people achieving upward mobility through exceptional military service against the dreaded Napoleon. And don't even get me started on how the history of Corsica would fit into all this!!!

People made the decisions they made because of the world they lived in, and if you change fundamental aspects of the world they lived in, its absurd to have them make the same decisions.

And on top of that, it actually ends up being kind of limiting for what kinds of stories you can tell. i mean, if no prejudice exists, then you can't have anyone interacting with it, internalizing it, or overcoming it. To have a character that, for example, is concerned about homophobia would be as bizarre in this setting as someone worrying about societal backlash because... idk their favorite color is red instead of blue. Who cares! Do you care? Clap if you care.

I know that's the fantasy some people like engaging with, and that's perfectly fine, but... well, it's not what I like writing.

I think Fallen London splits the difference pretty well- society still exists on the Surface as it always has (more or less), so you can still write characters engaging with it, but having London be it's own little pocket of equality has its own problems. I mean, if London was moved underground and the Masters granted everyone equal rights under the law, then that means no minority has ever campaigned for an expansion of their own rights and succeeded. There was no real Women's Sufferage movement in London, because there was no need. But there were Suffragettes who did cool stuff!! Stuff that might be interesting to engage with, but you can't, because of the setting. You have to overlook the accomplishments of real marginalized people, because the very premise of your story depends on the new government just... deciding to be nice.

Is this a problem that needs fixing? Nah, I don't think so. I think it was good when FBG went to remove some of the #problematic bits of text that still hung around (like changing the description of the Fourth City Airag so it's less... shitty, for example) because that doesn't fit with the tone they're setting. But I think it's fun and interesting to look at the opportunity costs of these decisions!!! im just having fun lol

[trainingdummyrabbit]

Hey, I know you're a Projmoon fan, I guess I'm curious because I'm at an impasse on what to do rn, did you play through the entirety of Lobotomy Corporation, did you just skip it entirely for Ruina, or did you read a summary/watch a cutscene compilation or let's play/something else? And what would you recommend as an approach? I've tried playing through Lobcorp but it's just extremely tedious and I'm considering skipping it to get to something I think I'll like more (Ruina)

oh!! ok my answer is a little bit complicated tbh; bc i havent. played any of the series at all. WAHAHA

what i personally did was um. attempt to watch an incomplete lobcorp lp ==> couple months radio silence ==> watched one (1) day of gameplay from a friend (for one boss fight specifically) ==> got recc'd summaries i slowly watched thru ==> couple months radio silence. ==> watched someone else's (actually complete) lp ==> (rabbit hole'd) summaries again.

um. dont do that. JSNBGKHDBK

im not gonna act like i Know how t tackle a series like this (since it took me like 4 circles around to Actually Commit to it (and also im kind of. new. here)) BUT from my personal opinion of the series and how it carries itself, i CAN recc at least Some order of something.

TRY to play Lobcorp! which i can kinda see is already done on your end. its something i Super want to try but absolutely know i wont finish SKJFNKDJF;; the main draw of PLAYING lobcorp is the struggle. it Sucks! its Long and Tedious and the game HATES you... and that's the point! it's plot relevant. it's an experience i didnt get to feel, but can so painfully just Understand by merit of watching someone else do it, only skipping about occasionally. tl;dr: the game loop is Telling A Story, Dragging You In-- THAT is the draw in insisting folks play it. it genuinely makes the... everything... hit that much harder. Once youve given it your best, dont feel ashamed to look for someone who's Done It! (i hear a lot of folks havent completed lobcorp themselves, so ✌) DONT UM . SKIP IT COMPLETELY THOUGH ruina is literally a Direct Sequel to it. i think it does a good enough job at introducing the setting on its own, but i am GRABBING YOU this shit will hit fucking DIFFERENT if you Understand. also its a lovely game worth looking at and appreciating bc GOD what a fucking experience those last few days are. i do not cry that easily to stuff like this but OUGH. AUGH. H

Wonderlab??? its a webcomic thats heavily reccommended you read through, but due to um. circumstances . it doesnt seem t be feasible atm. however, there IS a synopsis up thats pretty darn good! wonderlab, iirc, isn't directly plot relevant, but DOES introduce certain important concepts for ruina. however, it's not Mandatory, as ruina Also explains these things. as far as i know, its just a fun lil kickass story in the universe taking place between series you can look at if you want :)

Play Ruina! or watch, i guess. again, i watched an lp and it kicked the shit out of me emotionally (affectionate) so honestly do what you will here, i suppose.

honestly though, these are both super fucking long-ass and ridiculously heavy games so you're probably gonna be here a while. it took me like two weeks of committed watch time t look into Properly, and that was even when i started skipping straight to cutscenes at the latter half. embrace that! i cant stop you, but id heavily reccommend at the very least watching through the gameplay loop for a good chunk of the time-- giving the story that space really hammers home the... Everything. heavily heavily recc letting it Have that space.

for ruina specifically though, definitely at least watch through the beginning and ending legs of every fight-- and at least a solid chunk of every boss fight. if you're intent on skipping round gameplay loops like i did, imean. watch the boss fights watch the boss fights these fuckers do NOT play around. i cannot applaud these games' soundtracks enough and i wont say anything but trust me trust me trust me.

ANYWAY. here's the stuff that was recc'd to me, personally! if you wanna give watching through the series a go! :]

Lobcorp LP: [x] (Commentated+Completed! I couldn't find any no-commentary ones that were finished, but honestly for its gameplay loop it Helps. Blind on his end, but he does genuinely really like the series so i give it a thumbs up ✌) Ruina LP: [x] (Same guy :] also completed!) Lobcorp SUMMARY: [x] (Brief, but a good opener+summary!) Wonderlab SUMMARY: [x] (It Sure Is Wonderlab!!) Ruina SUMMARY: [x] [x] (Actually incomplete, but goes pretty well in depth and is easy to watch+absorb.) Alt SUMMARY: [x] (Consists of both parts of the duology! I haven't actually watched it in a while so i don't exactly remember much t say about it, but it sure is on my list!)

[cleromancy]

actually. still thinking about the stuff i mentioned in this post about like. people getting disproportionately mad at jason for mia compared to. like. any other supervillain that is *absolutely* also supposed to be somewhat sympathetic. like, thinking of two-face here in robin: year one (the dixon/beatty version).

because harveys role in the plot is adjacent to what Jason's is. he poses a clear danger to robin that makes the guardian/mentor reconsider the wisdom of having a kid sidekick at all. jason's actually there to make mia think about it, moreso than ollie, but their role as the antagonist of the story raises similar questions.

and i get that with comics in particular, your emotional reaction to what you read will always be influenced by what you see the fandom doing, and you do have... like im fairly sure the harv apologists are just like "i dont care who he hurt he looked good doing it" (and tbeyre so valid for that). and by comparison the jason legion, for we are many, are this whole scatterplot range of--some people only like him as a villain/think hes "unredeemable" (🙄), and some people want every bad thing hes ever done to be whooshed away by "pit madness" (🙄), and some people who. i have no ill will towards them but theyre fans of the new guy, the prime earth guy, and thats just a different character from my guy to the point that hes not even really relevant to ga 69-72 when we talk about it-- but nevertheless theyre in the same fandom, and the guy they like has the same name. so that can color peoples interpretations of whats on the page jf, for example, any of those factions really grates their cheese.

anyway. all that aside i do still feel like people get very angry at jason for being the antagonist--being a supervillain, even--maybe because he's so sympathetic by comparison in under the red hood/lost days (or i guess stuff the new guy's been in, if thats more your speed). like why did he terrorize mia! why did he scare her and beat her up!

and while i think the answer to that, from a character motivation perspective, is so obvious as to be. fucking asinine to need it spelled out-- the real answer is because as the storys antagonist he is there to challenge the protagonist. and in this case the challenge is not only the physical fight, its also a challenge to the question of whether or not plucky teen sidekicks should still exist in a post-death in the family dcu, where the baddies are badder and anyone can die.

r:yo was never asking that *specific* question, so lets just set it aside. thank you for your help harvey.

jason is a much easier target for reader anger than ollie because well. jason is absolutely doing something *wrong,* and he knows it, but he also has a fucking point, *and he knows it.*

ga01 was ABSOLUTELY engaging with and exploring aspects of the kid/teen sidekick trope that we know and love--mia kills a man on her test run, and the responsibility for mia being in a position where she felt like she had to do that, and the resulting trauma, is placed squarely and correctly on ollies shoulders. mias origin story meant she was never safe in her fucking life until she moved in with ollie, and now she finds out its left her with something permanent and life-changing--shes HIV+. what is safety? what is childhood? what does she want out of life, faced with her own mortality? she wants to help people. she wants to be a hero. and the way this unfolds, in the context of the dcu and how it works, you can see why ollie says yes this time. (and im so so glad he did.)

and jason shows up 20ish issues later when shes good and established to be like, "hi. you sure about that?"

and this is a chicken or the egg kind of situation where jason would not have done this to a civilian. shes a superhero. shes in uniform. there is an inherent danger to doing that and while you know that--both you the reader and you, speedy, green arrows junior partner and teen titan--nobody demonstrates it like jason "trolley problem" todd, both as the first notable dead sidekick and an incredibly dangerous, incredibly *terrifying* person. one who is *hell-bent* on *proving* it to you.

and when i say chicken and egg i mean while jason's responsible for his own actions, Ollie is explicitly responsible for mia's safety. imo blowing up the school wasn't to scare mia--it was to scare ollie. jason took the stakes of what it means to be speedy, or to *have* a speedy, and made them concrete. and that takes the concept of a plucky teen sidekick and makes it uncomfortable again because, god, she's just a kid. should she really be fucking doing this? (should her guardian really be *letting* her do this?)

(and people forget this, or purposely ignore it, but jason cant be more than 2 years older than her in this continuity, using tim as a benchmark. and i say this not because i want to emphasize that he would see mia as a peer rather than a child--though he would--or to imply he wasnt responsible for his actions--he was. i say this bc what was he doing in the supervillainy, he should have been at the club)

what i was getting at was i think rather than allowing the concept to exist in that gray area it is so much easier, so much more comfortable, to instead just be like. Well jason shouldn't have done that. he could have done it a different way. if he never put her in danger she wouldn't have been in that danger that night. and yknow all of those things are true but they don't negate the point he was making (and he was also doing more than that yk but this post is already Long lol), which was that that uniform puts a target on her chest. are you prepared for what that means?

and the difference between jason doing this, and Harvey, aside from the relative annoyingness of the people who want to condemn or exonerate them, is that. jason is not just a supervillain. he is a victim of *exactly* this thorny question. and he became a supervillain directly in response to this. you can not separate his actions here from the part where he knows what the fuck hes talking about, because it happened to him. and to make that less thorny, less uncomfortable, the focus turns away from the point he was making back to. Well he shouldn't have done it like he did it. while also ignoring that...... he did it like he did it because he knew how it felt, what it meant, to be a hero. if he didn't do it like he did it, would it have gotten through to them at all? would we still be talking about it like 20 years later?

anyway jason did such a good job posing uncomfortable questions in the narrative 🥰 im so proud of him for all his hard work!

[tvheadfalls]

Of course a lot of it depends on the kinda story it is. I assume you're not talking about a big cool fight with the guy that represents the story's theme, or breaching a big scary fortress that represents the story's theme or similar. But even for stories that aren't those, when your story is about stuff, the climax is when the ideas that you/your characters have been grappling with for this journey come home to roost. And, it's also (most likely) when your relevant players are the most clued in on the stuff that has/is/will be going on, like that's when the cards are on the table and the writing's on the wall. So that's when they might decide to do things, set things in motion. Not even necessarily in a world-destroying stakes way. Confront that one guy, get ready to leave the life they've built behind, betray that certain individual, etc. (again this might not be helpful at all, mostly just saying things you likely already know but all at once.)

But yeah, don't be discouraged! Some stories take some chipping at, and it can be a little while before you have a real "eureka" moment and things start slotting into place.

see i get that, and yes its definitely more the subtle things you said there at the end. the "leave the life theyve been living up to now" for example is actually the new story im working on rn. i just dont know...what should literally should be happening around it that makes it interesting, i guess? haha

but like i said to the others, i think its mostly my expectations for a nebulous "rly exciting thing" to happen and i should just trust that the stuff im doing makes sense and is, if not mindblowing, satisfying.

[prpfs]

hi, im cee (26) and im looking for a long term 1x1 rp partner! i have a specific plot idea or two in mind that i've been really wanting to do, so id love to find a partner for it! 🐈‍⬛

the main plot ive wanted to do is royalty omegaverse. your character has taken over my char's kingdom in war, and claimed the prince as a war prize. he is, however, a rather pitiful man, making it rather difficult to be mean to him as one might plan to be. this plot can also work with your char being a prince, and the leader giving my char to yours as a husband. i'm open to swapping some details around, as long as the "war prize" jist stays.

my idea with this story would be more of a romance story, hurt and comfort, healing from past traumas, that sort of thing. id also love political drama, troubles within your character's kingdom that these two have to sort out - or anything with a lot of drama, angst, and high stress emotions, really. i'd especially love if this was set in omegaverse reversal, where alphas are lower class and omegas are upper class. ive been wanting to play with that dynamic.

(im also fine with it if you want to be mean to him, or even something like they go from enemies to lovers!! im really open honestly)

the oc i plan to use is an alpha catboy. he's got a nice face and is quite anxious. he has a defined personality, appearance, and backstory. i also have a lot of side characters from his past that can be relevant. overall i love to rp as men with problems, and exploring deep emotions and stressful situations for characters.

i mostly play domtop, with occasional subtop. i dont like pure smut rps, but i dont want to only fade to black - please be ok with writing scenes or ftb if scenes are frequent.

MUST HAVE: MxM, shipping, at least a bit of fantasy, dead dove themes, semi-lit to lit length, 3rd person LIKES: multiple threads, modern fantasy, humanoid creatures, magic and wizards, slice of life with lots of drama, angst, hurt/comfort, texting rp on the side for when we're low energy :eyes: WON'T DO: incest or 🍪 (not even in backstory please), animal/child torture, FxF, space setting, robots, IRL faceclaims

note that if something isnt listed as a "won't do", im open to discussion! i probably just dont have a strong feeling about it.

PLEASE BE OK WITH: suicide/self-harm (usually just idealisation and desire; sometimes failed attempts), depression and self loathing, sexual assault (usually between npc and my char, and usually nothing on screen), and gore and graphic depictions of injury or misery.

additionally, this rp will require you to be into things like worldbuilding, playing npcs, and being willing to toss in villain characters. i can and will do all of this too (prepare for me to come up with questions about your kingdom that you'd never expect), but you also have to put this stuff in.

in a partner, im looking for someone who can do daily or semi-daily replies (and tell me if things will slow down!). i also prefer a lot of ooc communication and chatter! i like to hang out and talk about the rp, our characters, or even just things im up to. i also love coming up with AUs and side stories and the like, and would love if you were open to listening to my ideas or even sharing your own.

please do not interact if you ghost. if you want to drop, i want you to at least send a goodbye before you leave so i know it happened.

thank you for reading, and please like this post or dm me if you would like to rp together!

like if you're interested and op will reach out

[jesuscrab]

Alan Wake II - first thoughts, three hours in.

Just got to the start of chapter 3, still spoilering just in case.

(please dont disscus story details in comments/reblogs, thanks!)

IMPORTANT TOP THING: PERFORMANCE ISSUES: the audio keeps fucking skipping during cutscenes and i dont know why. i did the tricks all the wbesites said (move the game to SSD, play in fullscreen) but it keeps going on, which is extremly annoying. the issue is so common and big that i keep seeing guys on the internet complain about it! i want to beleive they are working on patches, but the game has been out for two two months now, and they still haven't acnowlaged the issues at all. Fuck, man. (the rest of the game plays good on my new gpu btw)

So, AW2 is basiclly a resident evil now. I knew it was gonna be a surivial horror, but the way the game and it's puzzles have been set up so far is just like from an RE game, even how parts of the UI or animations look. Not that i mind - remedy is a studio that wears their inspirations on their sleeve and isint afraid to yoink good ideas.

The game plays very nice so far. The atmosphere, the story... it's all very unique and interesting. All the cult stuff is capivating, and i was legit suprised to see nighngale brought back so early and in such a way. In some parts i feel like the story moves too qucikly, with our protagonits accepting the supernatural way too quickly, but maybe its for the better? we don't have to see our characters deny what's right in front of them for hours, it's all clear from the very start. And control did the same thing, with our main gal going along with all the nonsensical crap thrown at her.

speaking of the plot, the case feature is cool. helps organize plot in your head, every goal and thing you should do is clearly expalined and shown right in front of you, even forced for you to come to conclusions yourself. nice. way better then deadly premoniton did it.

Combat is weird so far. i only gotten into two fighting scenarios (not counting the nightingale "boss fight") and they were cool, but i felt like something was off. dodging seems basiclly useless now as enemies can grab you out of it, so the shootout consisted of me running around and picking the taken from the distance. is this the way the game wants me to play it? i don't mind that the game plays differently and more horror-like, but i wish the dodge wasn't so pathetic. boosting your flashlight seems a bit unreliable too, but that could be a set up problem.

i'm trying not the be too negative, since i had a very similar problem with control. in that game, the fights seemed extremly hard and annoying UNTIL you get all the abilites. then the game and it's combat really starts to shine, with flying around, grabbing missles out of the air, doghing, shielding, all that jazz. it's so dynamic and fun then, with all the weird and creative enemy types. i hope that all the weirdness of the combat is just exepriencing some growing pains and it will all fade when i get fully used to how it all works and unlock some upgrades/weapons.

minor complaint - the fbc stuff is, how i predicted, too prominent. don't look so weird at me! i don't mind control referneces and relevance, but from the very beggining of the game it just feels like too much, yknow? the closed gate was fun (and sets up the dlc content), the station and dialouge with casey about it was cute, but it feels like too early for this sort of cameo. sprinkle it in, be subtle - just like control did it with alan! well, until the dlc, but that's excusible since it was an extended teaser for AW2. the previous refrences were there, and a lot of them, but they werent all thrown in the players face. it also feels like those who didint play control would be missing out on important lore and jokes, which would confuse them, which is not great.

in summary, the game seems good so far! there is a lot of weirdness i still have to get used to, but im sure it will all wear down along the way when i play more. I just hope the damn issues will be fixed until then...