#someones fucking marysue or whatever

[panigamermauser]

Partch 2 announcement is here. Guess I won't be finishing the game atm. I only have the point of no return stuff left. And if they promise to fix Karlach soon, I'd rather wait than see several flavours of miserable outcomes I do not want to experience.

But the thing that really got my piss boiling is this part

One of the reasons why we trimmed the epilogue is because we were afraid the ending cinematics were becoming too long and would detract from the epicness of the experience.

REALLY? Really?! Have they MET a single RPG player in their life?

NO ONE cares for one big 'epic' scene more than the fate of their character or companions.

If it was a linear game with no variations, with one named character with their own personality that is not affected by player in any way - then sure, one big epic ending with no epilogue makes sense.

But the moment you introduce event variations, player-made avatar and companions - no one gives a fuck about one 'epic' scene, no matter how good it is.

Surely, it will resonate with some players. The ones who made the same choices devs wanted to show off. But anyone else will be on spectrum of upset to frustrated to angry.

And if they wanted to end on one big boom of a final setpiece... Make an epilogue as a post-credits section.

It will both give a feeling of conclusion that does not 'detract from experience' (whatever it even means). And then you get a separate gated epilogue a player can experience at their own pace. If someone really does not want more content - they are free to skip that part and stop at credits.

The very notion of one 'epic' scene being better than detailed epilogue - in an RPG - really breaks my mind tho.

It's not a movie or a book or even a _linear_ videogame. Yes. In those cases excessive epilogue can be a detriment. But in this case the story is passively experienced.

The moment you introduce player's active input ... I'm sorry, writers, but this is the moment most people stop giving a fuck about your overall vision and themes and whatsnot.

It is a collaborative storytelling now. And I do not know a single RPG player who cares for world story more than their character(and the moment you allow player input, it IS theirs) or companions they like.

What players want from an ending might be considered 'bad writing' by professional writing standards. But it does not make it any less valid.

You actively invited people who are not professional writers to participate in progression of the story. You WANTED to make a game with player's input (otherwise you'd be doing a linear game with predetermined main character). You should give them the ending they want. Even if it is 'cringe', or 'narratively excessive' or 'detracts from intended experience' or whatever.

The moment you override players choices in favor of the ending _you_ want - you need to be ready for fallout and accept that this is a direct consequence of your own choice. As some people like to say, you cannot have your cake and eat it too. It is usually said about players who want sunshine-and-rainbow ending in an RPG. But it goes both ways, you know?

You - as an RPG writer - also cannot have both purity of your vision and player choices at the same time. Go write linear games instead. No one likes a game master who does not accommodate their players decisions.

Majority of players want an option to save everyone and ride into sunset with love interest of their choice. Even if it is 'cringe' or a 'teenage fanfiction' or 'marysue bs' or whatever other reason so many professional writers consider those endings bad.

There's a REASON people keep writing those. Life is miserable for so many. They do not need their escapism to remind them they will never get a good ending. That their loved ones will die no matter what. They get enough of this shit already in their everyday life. They do not pick up a FANTASY game that promises control over their fictional lives only to be crushed mentally again.

If you want your 'shades of grey' and 'nothing is ever good' or 'no victory comes without a cost' endings - just make a linear game. Do not fuck up other people's escapism by false promise of control over their fate just to pull the rug.

Honestly, Bioware jumped on a grenade for all of you with Mass Effect 3 ending. They went all in on 'no victory comes without a cost' ending with very little player agency in it, and it destroyed 10+ years of a franchise with movie deals incoming overnight. All for one creative director hubris. It should have been a lesson for every single game-with-choices designer. A masterclass on player expectation vs writers vision.

If you give player choices - you must leave your own writing ambitions at the door. Sure, make the ending you want. But also make endings that will satisfy the spectrum from edgelords to unicorn-and-raibow lovers! THAT is what makes games-with-choices good. The feeling your choices both matter and are respected.

And for the love of everything you believe in - if you make a character romanciable and then make them die/leave the player no matter what, do not play surprised pikachu when this is the only thing many players will care about. No matter the narrative themes you want to introduce. No one cares for it more than the fate of their pixel person and their pixel person's love.

Honestly, linear games exist. They can be good. Some of my favorite games ever ARE. Precisely because of curated story experience. And they are the space for writers who want to be in control of the narrative.

But the moment you introduce player choices - the game must respect all kinds of players. Even if you personally would never want a certain type of ending. Otherwise what's the fucking point of having the choices?

P.S. Maybe I'm an aberration, but I never gave a fuck about main plot of the game even once. It's not why I got the game. My reasons to get it were: to play a tiefling bard, and have Astarion, Lae'zel, Karlach and Halsin with me. I fell in love with other companions and NPCs too later on. But initial reasons were those five.

And I am very happy to wait for Patch 2 instead of actually finishing the game. Because I care about Karlach more than the plot. That's it.

Main plot is irrelevant. Just a framing for the things that truly matter. Something to deal with AFTER the things I care about (aka companion stories and favored NPC stories) dealt with. That's why I was so frustrated with Act3 really forcing Orin and Gortash interactions. They were always irrelevant to me.

So the idea devs cared about big brain confrontation scene more than main char and companions is just baffling to me. It's just the tool to make plot happen, nothing else!

[annihilate-plays-minecraft]

LoL you can't kill me I have herobrine's powers pulls *out an enchanted diamond sword* get ready to have a bad time

[morwensteelsheen]

WIP wednesday thoughts:

willow cabin is utterly fucked because i changed my intended ~moral~ halfway through and now im stuck trying to integrate this shitty political intrigue plot into what should’ve been a more interesting story about éowyn adapting to life in gondor. hugely fucking annoyed by it and just totally unsure how to proceed. i could significantly increase the chapter count, but im worried that because the initial framing device was this bandits shit that closing out that plot and then still going for ages afterwards would be really shitty? i honestly don’t know, it’s so difficult. really i just need someone to read my outline and tell me if im being a dumb twat about it lol

meanwhile I know exactly where I want to go with AFTA but for some unaccountable reason im stressed that my ass is gonna get roasted for the direction i want to take it in. it’s all based in both tolkien’s personal politics and (some) historical precedent, but im worried people are gonna see it as a marysue-ification? but also im hoping to do sthg of a sequel to afta to practice the political intrigue writing so i don’t make the same mistakes i did in wc, and to do that it would require this specific set up in AFTA. im gonna put my AFTA thing under the cut so don’t click read more unless you’re gucci with potential AFTA spoilers!!

this royal affair au is definitely gonna get published at some point but im trying to decide if i want to do ~tasteful~ smut that drives a longer narrative or if im really just gonna do a whole 3,000 word build up to some run of the mill, old fashioned PWP lmao

okay so i have spent a Lot of time thinking about what impact i think éowyn and faramir would have on each other in a pre-ring war setting, and the honest to god conclusion ive come to is that they would somewhat inadvertently egg on each other’s (wildly divergent) idealism.

faramir’s an idealist politically in ways that, as Big D rightly points out, are not super productive in a wartime scenario. but so far as im concerned, the war doesn’t feel as warlike until they have to blow the bridge at osgiliath. until that point, there’s not really anything to say that faramir’s whole throwback optimism isn’t a perfectly justifiable position to have.

but what that idealism is and how it manifests are two really important considerations. the crux of his idealistic politics is that he looks at númenor and sees something valuable in it, and looks at gondor and sees a lot that he thinks is fucked up. outside of articulating a general angst towards the glory hunting, it’s not like he’s spending time talking about his specific policy prescriptions. however, we do know a few things that can guide us to a more coherent reconstruction of his politics:

he’s pretty rigidly hierarchical (when it’s convenient for him). as seen in: him basically telling sam to fuck off and stay in his lane in WOTW, and in how and when he chooses to refer to his father as ‘father’ vs ‘my lord’ or ‘lord of the city’ in the aftermath of the osgiliath retreat and then before he gets his ass sent back there. i don’t want to go into too much detail here but if i go with this i’ll definitely justify it more thoroughly in the footnotes.

so we’ve got faramir’s emphasis on hierarchy and his occasional (when convenient) belief that the upper echelons of a hierarchy are there because they’re intellectually and/or morally better. or, maybe to remove the causation from that instance, because they are in those upper echelons, they have an obligation to be more morally/intellectually upstanding, and the people in the structure below them have an obligation to show deference. unless you’re faramir and you’re dealing with denethor in which case that all goes out the window. classic.

we know there is some sort of nascent pseudo-democratic tradition of popular sovereignty in gondor. we know this because faramir asks the masses at aragorn’s coronation if they’ll accept him as king. faramir is a lot of things, but he is certainly not a progressive political radical, and i cannot imagine any situation in which he cooked up that rigmarole himself. that then implies to me that it’s building on some sort of political/cultural expectation in gondor. so: some sort of relationship to popular legitimacy. the people of gondor are subjects, but perhaps not as totally passive and unconsidered in the power structure as we might assume given the comparability to feudal europe/asia.

given those two things, i want to use AFTA to argue:

that faramir, in looking to assign blame for the faults he sees in gondor, would not directly assign blame to the lower classes, but rather to the aristocracy, because he will have seen them as failing in their moral obligations to the people they rule over. this is not to say that he isn’t fucked off about The People™ valorising war, but i think he’d take the position that they couldn’t possibly be expected to form those values and opinions of their own volition, and the fault lies in their rules. faramir: not gramscian.

faramir lacks any power that is non-military, and even that is of questionable worth because the rangers seem to be fairly distinct to the general structure of the army, and are not exactly a huge force.

faramir lacking any political power isn’t necessarily a huge concern for him (as in, he’s not actively trying to change that), because he knows he’s not going to lead a moral revolution and isn’t interested in taking up the responsibilities having political capital would engender because he’s stuck dealing with this war, that he fucking hates btw has he mentioned that he hates it?

however, given that he is apparently eminently versed in lore and scholarship, he is probably keenly aware that there is this incipient notion of popular legitimacy somewhere in gondor’s culture. it’s not, for most of his life, knowledge that actually does anything for him, but it is there.

éowyn, meanwhile, doesn’t really have many strong political convictions (yet). not because she’s a dumbass or whatever, but because she looks at court politics as kind of a farce, and doesn’t believe that power legitimately emanates from anywhere that isn’t a Big Fucking Army. and why, strictly speaking, would she not think that? the event that brought about the creation of her kingdom was not careful, soft spoken negotiation, it was her ancestors being in the right place at the right time with a Big Fucking Army.

and the internal politics of the Riddermark actually seem to be fairly stable, all things considered. i sincerely doubt that Théoden or Théodred are having to negotiate complex politicking in the way Denethor and Boromir are. so where, then, would éowyn see that kind of political behaviour outside gondor? with gríma.

éowyn, then, will see the immediate contrast between gríma (backroom dealer, manipulator extraordinaire) and théoden (owner of Big Fucking Army). and gríma goes and fucking wins that fight. that forces éowyn to confront the fact that, jesus christ, maybe there are different types of power.

at the same time, she’s going to be in minas tirith and needing to cover for théoden letting his shit get wrecked. not just because she’s prideful, which of course she is, but because if denethor/gondor think that théoden is too weak to hold up his end of the bargain, why would they ever go help the Mark? éowyn, seeing that théoden’s f-f-fucked, knows that there’s a very very good chance the Mark will need help.

against her feelings about courtly politics, she starts to accept that she’s going to need to do something to get power in gondor. not anything substantial, it’s not like she’s trying to overthrow anybody, but enough that when push comes to shove she can force denethor to help out the Mark (if he doesn’t do so willingly).

but, as ive sort of already shown in AFTA, she’s a bit of a dogshit diplomat. good for a little big-brawny-enforcer stuff, but not exactly brimming with cultural sensitivity. by the time she realises théoden + the Mark are fucked, she’ll have burnt quite a few bridges with the gondorrim nobles, and it’s not like she’s the sort of person to go running cap-in-hand begging for mercy.

so: she has to look elsewhere. and wow! a chance for faramir to do his favourite thing — talk about his opinions! and by god, his weird idealistic politics are… actually kind of helpful? because he’s like, look, you’re never gonna be a diplomat, but there are other ways of consolidating power. and one of those ways is by appealing to The People™. so why not work that angle?

and actually, we know that this is a viable route for éowyn because hama, in arguing for her to take up the mantle of théoden’s heir when théoden and éomer fuck off to helm’s deep, basically says that The People™ love her and would have willingly chosen her to lead them.

we also know, based on faramir’s middle men speech, that the people of gondor and the mark have grown alike in nature. not totally unreasonable to then think that the people of gondor would take to her like the people of the mark did.

éowyn, then, in various ways begins to try to win over the people of minas tirith. i need to do a little more research on this bc what ive got on the practicalities of that so far are a bit, uhhh, sketchy, but the least jargony way to describe this is to point to when natalie dormer’s character in GOT gets out of the carriage to go hug and kiss some babies. (marc bloch, eat your heart out)

this would later segue into a potential sequel where, while trying to secure the way for aragorn’s coronation, éowyn actually plays an interesting role because she’s fallen into this incidental Diana, People’s Princess™ role and so is better positioned than almost anyone to go advocate on his behalf. wow! cool! éowyn getting to be politically useful in more ways than just getting hitched!

so yeah. that’s how i am thinking it might play out. this would obviously have a rolling impact on the remainder of AFTA and how certain (🔥) events pan out later, but i think that building up part has to begin pretty much now, narratively. also this lets me get in a reference to “and then her heart changed, or else at last she understood it” and have it not be almost entirely about wanting to shag faramir, but actually about her gradual evolution from valorising war above all else to being like, hmm, maybe there are other ways of being powerful. which i think still largely captures the “no longer I will vie with the great riders” stuff, but more subtly and without feeling quite so… deferential, I guess? Like it’s not that she’s swapping one form of power (violence) for nothing (gardening?? healing?? tolkien accidental articulation of necropolitics??) but swapping violence for a different type of more sustainable power.

yeah. that’s the take, basically. who fucking knows.

[my-artblog-is-ssjumi]

Isono/Seto, Isono/Aileen, Hannibal/the other guy in that show aaand whatever Evangelion ship u most wanna talk about

disclaimer for folks with different taste than mine: you do you ofc but this ask game is not about your opinions

Isono/Seto

11/10 in every way (as long as not shipped as uwu) and the age gap is a big part of what really makes this ship in the first place

Love me all of this misplaced father/son dynamic stuff going on, since Isono doesn’t have time for the family life he would be pretty good at if he didn’t have the rich kids to take care of and Seto. Seto is just. His entire deal is that he is a bag made out of daddy issues filled with lots and lots of boxes that are also filled with daddy issues and a bunch of issues he got from his birth family.

Imo there’s a lot of unplatonic tension and a dynamic with an endless amount of potential right there and aside from a couple Japanese doujinshi artists and maybe 2 or 3 friends I don’t trust anyone in this fandom to do it justice so I’m not even mad that it’s not one of the more popular ships bc I don’t wanna see the healthy uwu.

*

Isono/Aileen

UGH, Sam, you’re SPOILING ME, asking for my MarySue child! X3

Ofc it’s a top tier ship, too, bc I came up with it and my taste is simply flawless.

I mean, if I was married to Seto Kaiba for some reason and ruined my social life outside the relationship with him in the process so I felt I didn’t have anyone aside from him anymore and we drifted apart because of his issues and my issues and then there’s the whole thing with the public eye, too, and I was this gorgeous (probably day-drinking) rich lady whose job it was to run the KC’s PR department - a job that only got shittier and shittier over the years the weirder Seto’s stunts got, building a school right next to an active volcano being just one of the cherries on top...........

I mean, who would I turn to in my loneliness?

Ofc I’d turn to the only other person who can relate to how exhausting it is to clean up Seto’s mess again and again and again but still sticks with him anyway.

(Some ppl might argue “What about Mokuba?” and I want these ppl to know that Mokuba deserves better and in this storyline he knows that and studied abroad and traveled the world and now knows what life outside the Kaiba bubble looks like... Also he probably fucks Jounouchi)

The soap opera aesthetic. Everything is bling in this golden cage.

And it’s impossible to tell if this relationship between Ai and Isono would even work outside of this bubble. I don’t think they want the same things from life. I mean, in case they even still know what they want from life in the first place.

Amazing. Show-stopping. Someone start production on this telenovela right now and I want a soft shimmery blur and star filters that makes the jewelry blind the audience on each and every close-up of Aileen!

*

Hannibal/Will

Oh boy!

Ok, so I actually watched that show a couple years ago but only got through the first two seasons and then was too lazy to figure out where to watch the rest (especially since it wasn’t clear at the time if it was cancelled or would be cancelled or not) and then kinda... forgot about it? Also I think I remember I was pretty annoyed by Will’s angst after a while.

I mean, it’s valid ofc.

His therapist/friend/whatever they were by that point was a manipulating cannibal and he had these blood-smeared antler nightmares and shit so I’m gonna cut him some slack here.

So, uh, my honest opinion............. I... guess it’s a ship that exists?

I mean, if I had the hots for one or both of them I might be able to get rly into it, but the sexiest thing on the show was the food (ignoring what it’s made of ofc. i guess.) and the rly fancy ties Hannibal always wore.

But the ship itself..........

¯\_ (ツ)_/¯

*

an NGE ship of my choice

Oh my.... hmmmm.... ok, this is brutal honesty hour so I’m just gonna be brutally honest and say that I don’t care much about the ships of this show.

I’m okay with most of them like. They have their place in the narrative, I guess? So iirc I’m not squicked by any of them?

They’re very tropey, especially the ones among the teenagers, but that trope density with these kinda archetypes n stuff wasn’t that run-of-the-mill common and fucking everywhere to that degree back when the show came out so while I would probably at least be bored if not hella annoyed to get all of that shoved in my face nowadays... it’s fine with me in the context of NGE.

Hmmm what could I say about a specific ship....

Yo, what about Kaoru/Shinji.

Everyone loves Kaoru/Shinji after all.

I think it’s. Okay, I guess.

I mean, it’s cool that it exists, but I don’t really FEEL much about it tbh?

It does get a bit more substance and becomes more interesting i you throw yourself down the rabbit hole of fandom’s timeline speculations and their related essays on that tho, in which all the NGE canons are somewhat linked in a particular order bc Shinji reset everything a couple times in previous Third Impacts XD

In this theory, Kaoru is the only one who remembers all these timelines, which explains why he starts out as a kinda emotionally incompetent bratty douchebag in the manga and only learns a human emotion or two and something resembling compassion through Shinji, which explains why he’s in instant flirty mode when he sees him “again” in the anime(s) and seems to know exactly what Shinji is going through and needs to hear (and how to hurt him by giving/saying it to him before making him kill him XD’) there.

Like, in the context of that connected timelines theory, this pairing is pretty cool and I can really get behind it and could see myself getting emotionally invested if I spent more time on it and/or maybe were a little younger.

But outside of that context, judging it by just one of the canons at a time...

It’s just.

It’s fine. It’s there. It has its place. It makes for pretty fanart sometimes. Eh.

[thenextchapterbegins]

A trip down nostalgia

so back in the day there was like things out there for rping aka rule pages..i remeber along time ago i read an orginal character rulebook and it said “you cant have powerful ocs” which ive broken that rule a few times. So i decided to find one of these old “universal rping rules” pages and go through em and see how theyve changed

GENERAL RULES 1: When you are talking out of RP text, use "(( ))" to indicate such 

i particually like this one because it shows how dated it is..like most rping sites have instant message systems 

2: When you are talking with only one character in the same area, you should not skip any lines; if you are talking with more than on character area, then you must separate them by skipping a line after the action and text of the first character, then starting the same thing for the next character [Note: this only applies if both characters are interacting with the same character(s); if they are in the same topic, but different areas of the topic, they must be posted in different comments.] 

i dont actually know what this rule is implying is it implying you cant skip topics and have to stay on track or simply if another person joins that person cant interject? 

3: Any speech MUST be indicated with quotation marks and actions should be indicated by "* *", but that is optional 

This is a fun rule too because of nowndays there are two styles of rping

script and para. i don't know if this rule is insitating there was a time were para/script was the same thing or used in the same way. GLOBAL RULES 1: You cannot skip between different RP storylines i can only assume this was a rule before multithreading was a thing but weve broken this rule.

2: You cannot skip between different time frames also this one weve broken 3: You cannot declare your character(s) to know someone without permission from the other person(s) this is a rule thats still followed albeit with the expectation that your muse is omniscience or all knowning or whatever  4: You cannot declare your character(s) to share history or a background with another character(s) without permission from the other person(s) man there was a day and age were we didnt write giant paragraphs of agnst? and just did “and then they shared their past” ENTRY RULES 1: You cannot make another person(s) notice something; you have to let them notice it themselves i dont think anyone follows this rule. 2: You cannot appear in-between or near other characters unless approved by the other person(s) and allowed to do so (usually for battles or something) i think with this one i can only assume battles were more careful..i think nowndays if you fight a more powerful character that can appear next to yours and your character cant it sorta just happens.  3: You cannot be dramatic, it MUST be a subtle entry (ie: no big flashes into the area, bothering other characters; no screaming; no making other objects fly around when you entry, bothering other characters, etc.) [Note: exceptions are allowed if approved by the other person(s) if you are in a battle or something, but it must still be kept in moderation.] HAHAHAHAHHA 4: You cannot move or come into contact with another character(s) when you enter AHAHAHAHAH -louder laughing-  SOCIAL RULES 1: You cannot control the conversation or be the center of attention i suppose this is true for like group rping but one on one i dont see how this could really happen. 2: You cannot interrupt someone else's conversations (unless permitted by the other person(s)) again in group rping i can see this happening but not for like one on one. 3: You cannot make person say something, nor may you tell them to say something outside of RP chat (your character may tell them to say something in RP chat, but they are allowed to refuse)   this one is... idk ive had times were someone comes into my ims and there like “i need help with ideas so i can reply” or “i dont quite know what to say next” and you discuss and plot this rule seems overly strict and just strange.

4: You cannot relate to someone else's background or history without the consent of the other person(s)  fucking what?

BATTLE RULES 1: No godmodding (ie: being invincible, overpowered, etc.) i think over the ages godmodding went from “everything bad” to more speciifcally  godmodding=controlling my character without permission marysue=everything bad 2: No controlling other people read above 3: You CANNOT kill another person(s)'s character without their permission  yeh this is pretty universal still 4: You MUST allow the other person to CHOOSE to accept or avoid an attack [Note: there are some exceptions to this rule once you are familiar with the rules and the feel of RP battles, but you must still keep it in moderation; it cannot be a big attack (ie: cutting someone's head off, stabbing their heart or lungs, etc.) and you must allow the other person(s) to do the same.] this is pretty universal as well expect with the two expections of 1. you planned the battle in im beforehand 2. your muse is significantly weaker then the one your facing.  like if your a god and im a human im probably going to get rekted 5: You CANNOT say where a character(s) got hit, nor how they took damage, they became crippled, they lost a limb, etc.) [Note: again, there are exceptions to this rule, as well; following the same exceptions as rules #4 and #6 again 1. above sorta explains this but this is mostly true 6: You may ONLY make ONE attack at a time, still following rule #4 [Note: again, there are exceptions to this rule once you are familiar with the rules and the feel of RP battles, but you must still keep it in moderation; you cannot go into a frenzy (attacks that count over 5 in this case) and you must allow the other person(s) to do the same.] i think overall rping battles has become easier to write with maybe before rping battles was a new thing and harder to do? 7: You may not make any moves without giving the other person(s) a chance to do something (this includes running away, teleporting (not blinking), summoning things, banishing the person(s) (and it must be approved by the person(s), etc.) again power differences are a major play in things like this. a master can beat a novice without taking damage, a master swordsman could beat bandits with no issue, etc etc etc 8: You MUST take damage at some point yes and no again as i said above however i always make it point that if your character is creative and can whatever skill they have to their advantage its always possible that your muse can do damage to mine and i can do damage to yours however as above its incredibly situational

thank you for listening to a random ass post.

i can only assume from loooking at this people in the past were careful and nowndays rping is

smashing into someones ims going “yo bitch lets fucking rping AHHH”

[garnetshell]

I'm curious about F, N, Q, S, V, W, X and Z. I hope it's not too many questions :D

F - What’s the longest you’ve ever been in a fandom?

I would have to say it would have to be TMNT. When I was little the original series was going around and I was in a small town so really there were no clubs or anything. But growing up was... hard and I had stories and fantasies of the turtles helping me and comforting me. So I count that.

N - Name three things you wish you saw more or in your main fandom (or a fandom of choice).

I can’t emphasis how important all of these are.

Respect for each other is a no brainer. Honestly, you shouldn’t have to tell people to behave and be respectful but you do because some people just like being jerks.

Comments - this is so important. Comments help so much with self esteem. Encouragement is crazy needed for many writers and artists. It’s too easy to get disheartened and think that no one likes your stuff because no one is commenting.

Support - this kind of goes hand in hand with all the others. With support you can encourage someone to do some great things and I think it’s super important.

Q - A fandom you’ve abandoned and why.

Megaman. The ONLY reason is because Capcom started to be fucking assholes and were messing with the fans so much it was bordering abuse after the original creator of Megaman left their company. I couldn’t stick with it.

S - Show us an example of your personal headcanon (prompts optional but encouraged)

For me, Donnie is so young and so much rides on his shoulders, more than even Leo. I see that Donnie would have depression issues but is too scared or maybe too proud to say something. He doesn’t want to be a burden so he keeps it in but will cry when he’s alone because it’s the only relief he has.

V - Which character do you relate to most?

I can relate to Leo and Donnie.

Everything I do is for my family. The weight of the family’s fate seems to always be on my shoulders. I keep them safe. I keep them fed. I clothe them, keep a roof over their heads while I am out in the rain. I fix most of everything that breaks. I give them medicine. I have literally saved the lives of my mother and older brother with nothing but retaliation as thanks.  It’s a terrible weight.

Crushing.

W - A trope which you are virtually certain to hate in any fandom.

I half assed this pic. 

It’s the “strong woman” bullshit. It’s always so fucking marysue that it hurts. The women get away with EVERYTHING and I hate it.

I don’t want a “strong woman” trope. I want a BELIEVABLE woman. I want a character that a person can relate to not just fucking have them in there to make them a romantic interest under the guise of trope. 

X - A trope which you are almost certain to love in any fandom.

Pets and friendship.

I’m a sucker for happy pets owned by heroes even villains (as long as they are well taken care of). And hell yeah, give me friendship any day of the week!!

Z - Just ramble about something fan-related, go go go! (Prompts optional but encouraged.)

I think the turtles would have the best hugs! Especially Leo. I think it would be warm and soft yet strong and you can just live inside his embrace for years because it feels so good.

I think Raph would complain about hugs, they would be brief but still good. Mikey would try to bear hug you all the time. And Donnie, well, you would have to hug him first but when you do, at first he wouldn’t be sure what to do but then after a few seconds he would have a great hug too that kind of lingers. But LEO, he would want to cuddle while hugging. Soak up the attention but also give so much himself creating a balanced bond between you and him (be it friend, family, whatever). And I love this idea so much!! I love it!! I want to have hugs like that. I want them so BADLY!!