#worldbuilding example 8

[vulturevanity]

normal thing to say about your dear friend who you think is really cute and charming and hard-working and basically the perfect wife material

[risingsunresistance]

i think more worldbuilding should include more numbering systems. like obviously when creating a fake world or language our first thought is to take the basic 0-9 and make a representation of those, but does it actually make sense for your people here to be using base 10? what about base 2, base 16, other systems we use and systems we dont commonly use? what would make the most sense in the context?

[doufudanshi]

ON GHOSTS AND DEMONS: Wei Wuxian's "demonic" cultivation?

There are a few big misconceptions I have repeatedly seen in English-speaking fandom about things that are fundamental to the story of MDZS. One of them is this—

Wei Wuxian is not a demonic cultivator.

To prove this, let's take a deep dive into the original Chinese text of MDZS.

(Adapted from my original gdoc posted on Twitter on May 27, 2022. All translations my own unless otherwise stated.)

Demon vs. ghost

Let's start from the very basics. In addition to orthodox cultivation using spiritual energy and a golden core, there are two other forms of cultivation that are mentioned in the novel:

魔道 (mó dào), or “demon cultivation/path.”

鬼道 (guǐ dào), or “ghost cultivation/path.”

To be clear, 魔 mo "demons" and 鬼 gui "ghosts" (and thus their respective cultivation/paths) are not interchangeable because of the in-universe worldbuilding within MDZS. Using the characters in the term 妖魔鬼怪 "monsters," MXTX created four distinct categories of beings, each of which has a strict definition in the novel. From chapter 4 (jjwxc ch 13):

妖者非人之活物所化; 魔者生人所化; 鬼者死者所化; 怪者非人之死物所化。 Yāo (妖) are transformed from non-human living beings; mó (魔) are transformed from living people; guǐ (鬼) are transformed from the deceased; guài (怪) are transformed from non-human dead beings.

And of course, WWX hoards all the ghost-type pokemon monsters at the Phoenix Mountain tournament, and he only exerts control over corpses, spirits, and the like (aka people who have already died). (As opposed to Xue Yang, who appears to have been actively trying to make 魔 "demons" out of living people with those "living corpses" of his, perhaps.) (And, ironically, in order to avoid showing necromancy / zombies on screen, CQL technically does show WWX practicing demon cultivation because everyone is "supposedly alive" even when they're corpses? Which is, funnily enough, far worse morally in the MDZS universe, lol.)

So, intuitively at least, we know that WWX must be practicing ghost cultivation—now let's look at some concrete examples from the book.

Running the numbers

1) 魔道 (mó dào) means “demon cultivation.” As such, it must use living humans.

魔道 appears one (1) time in the novel.

Yes, once. The only time it appears is in the term 魔道祖师 modao zushi, or the namesake of the novel, in chapter 2. This is a title the general public has given him through rumors:

魏无羡好歹也被人叫了这么多年无上邪尊啦、魔道祖师啦之类的称号，这种一看就知道不是什么好东西的阵法，他自然了如指掌。 Wei Wuxian wasn’t called titles like “The Evil Overlord,” “The Founder of Demon Cultivation,” and so on over the years by others for nothing—he knew these sorts of obviously shady formations like the back of his hand.

2) 鬼道 (guǐ dào) means “ghost cultivation.” As such, it must use dead humans. 

鬼道 appears 12 times in the novel.

Here is the first instance that 鬼道 appears, which I believe is the first time Wei Wuxian's method of cultivation is properly introduced. From chapter 3 (jjwxc ch 8):

蓝忘机 […] 对魏无羡修鬼道一事极不认可。 Lan Wangji […] had never approved of the fact that Wei Wuxian practiced ghost cultivation.

Here's another quote from chapter 15 (jjwxc ch 71) for funsies:

蓝忘机看着他，似乎一眼就看出他只是随口敷衍，吸了一口气，道：“魏婴。” Lan Wangji looked at him as if he saw through his half-hearted bluff. He took in a breath, then said, “Wei Ying.” 他执拗地道：“鬼道损身，损心性。” He stubbornly continued, “Ghost cultivation harms one’s body, and harms one’s nature.”

3) 邪魔歪道 (xiemowaidao) means heretical path/immoral methods/evil practices/underhanded means/etc—e.g., lying, cheating, stealing, bribery, and so on.

It appears ~24 times in the novel.

I mention this last term because it is often used to refer to Wei Wuxian's cultivation, but as a pejorative. Every instance of 邪魔歪道 is said by or to quote someone looking down upon Wei Wuxian’s cultivation (Jin Zixun, Jin Ling, etc.) and referring to it derogatorily, whereas every instance of 鬼道 guidao/ghost dao is said by someone discussing it neutrally and/or factually (Lan Jingyi, Lan Wangji, Wei Wuxian himself, random cultivators at discussion conferences, the narration, etc.). Here is a pertinent example with Jin Ling (derogatory) and Lan Jingyi (neutral) in chapter 9 (jjwxc ch 43):

金凌怒道：“是在谈论薛洋，我说的不对吗？薛洋干了什么？他是个禽兽不如的人渣，魏婴比他更让人恶心！什么叫‘不能一概而论’？这种邪魔歪道留在世上就是祸害，就是该统统都杀光，死光，灭绝！” “We are discussing Xue Yang,” Jin Ling said angrily. “Am I wrong? What did Xue Yang do? He’s scum that’s lower than a beast, and Wei Ying is even more disgusting than him! What do you mean ‘don’t make sweeping generalizations?’ As long as those practicing this kind of demoniac, heretical path are alive, they’ll continue to bring disaster. We should slaughter all of them, kill all of them, annihilate them once and for all!” 温宁动了动，魏无羡摆手示意他静止。只听蓝景仪也加入了，嚷道：���你发这么大火干什么？思追又没说魏无羡不该杀，他只是说修鬼道的也不一定全都是薛洋这种人，你有必要乱摔东西吗？那个我还没吃呢……” Wen Ning shuffled around. Wei Wuxian gestured at him to stay still, only to hear Lan Jingyi also cut in loudly, “Why are you getting so riled up? It’s not like Sizhui said Wei Wuxian shouldn’t have been killed. All he said was that people who practice ghost cultivation aren’t necessarily all like Xue Yang. Do you have to go around breaking things? I didn’t even get to eat any of that yet…”

Tl;dr—Wei Wuxian does not 修魔道 practice demon cultivation. When Wei Wuxian’s craft is discussed in a neutral and factual manner, it is referred to as 鬼道 ghost dao. 

In fact, Wei Wuxian’s imitators are also referred to explicitly as 鬼道修士 ghost cultivators.

魏无羡早就听说过，这些年来江澄到处抓疑似夺舍重生的鬼道修士，把这些人通通押回莲花坞严刑拷打。 Wei Wuxian had heard a while back that over the past few years, Jiang Cheng had gone around snatching any ghost cultivator suspected of being possessed or reborn, detaining them in Lotus Pier to interrogate them using torture.

So why the confusion?

Of course, there is the matter of the novel's title, which I will get into in a second. But the real issue is a matter of translation.

The idea that WWX uses "demonic cultivation" is a misconception in English-speaking fandom due to issues with the translation of terminology. Of note, EXR actually did translate 鬼道 guidao as "ghostly path" most of the time, though there were at least 3 instances of "demonic" and 1 instance of "dark," especially regarding the first few.

However, this misconception was perpetuated (and arguably worsened) by 7S's official translation, which not only mistranslated additional terms as "demonic cultivation/path" (at least in book 1), but also consistently mistranslated every instance of 鬼道 as "demonic cultivation/path."

So why is this book called 魔道祖师, commonly translated as "Grandmaster of Demonic Cultivation?"

One possibility is one posed in Chinese-language meta online, which often cites that WWX himself is a sort of 魔 demon. While this may be true—after all, he can hear the voices of the dead—it doesn't quite explain the fact that the title sets him up to be the 祖师 or "founder."

My take is that this novel is very much concerned with hearsay vs. truth. This is one of the many monikers WWX is given by the public, who collectively view him as evil. (Also of note is that the non-cultivator public is not aware of all the nuances that cultivators learn re: distinctions between the 妖魔鬼怪 monsters.) In the quote from earlier, note that the first title we're given is actually 无上邪尊 “The Evil Overlord,” then 魔道祖师 "The Founder of Demon Cultivation." Like, what can that be other than MXTX telling us, "please take both of these with a HUGE grain of salt, lol."

(And not only the title, but the very first line—"魏无羡死了。" / "Wei Wuxian is dead."—is a lie.)

I think the title is genius, honestly. It intentionally makes readers come into the novel with preconceived notions that Wei Wuxian practices 魔道 demon cultivation and evil techniques—just like the public in the novel. What better way to tell a story warning about the dangers of how easy it is to fall for misinformation and jump to incorrect conclusions?

(Though, in our case, perhaps it worked a little too well.)

[ittsybittsybunny]

ATLA Live Action Series Review:

The Good

Aesthetically this show felt right. Sure sometimes the outfits didn't quite feel lived in, but I always felt like I was watching a fantasy world with decent effects and interesting design. Also, I really enjoyed the sets!

Bending: Yes some of the fights feel very quick, but the bending looks cool. It is certainly better than 10 benders lifting one big rock. I can honestly say the opening bending fight scene gave me so much hope for this show.

Kyoshi Warriors: I loved seeing them in live action, and I thought Suki's performance was great!

Omashu: I think the mashup of the mechanist made sense since that is an important character overall and I would hate to see him cut. However, both Jet & the secret tunnels felt sloppily thrown in.

Northern Water Tribe: I really loved the way it looked, and appreciated the two episodes we spent here. I think Yue gained more agency in this interpretation, and why shouldn't the moon spirit be a waterbender. Also, episode seven felt the most in tune with the original show's spirit.

Zuko: I think he was one of the most fleshed-out and best parts of the show! Dallas Liu really captured Zuko's spirit, and the scene between him and Aang in episode 6 was wonderful!

Soundtrack: Hearing the original soundtrack bits is always great, and when I first heard the ending music I was so excited.

Is the show perfect, no - but I wouldn't mind a season 2.

The Bad

Pacing: Turning 20 episodes into 8 was bound to lead to some cuts...but oftentimes times things felt too quick or disjointed. I think there were editing problems contributing to this for sure, but sometimes things skipped around too much without a clear purpose as to why. Also, why bring in plots from later seasons when you barely have enough time already?

Writing: This show definitely suffered from exposition dumping, though it did get better as time went on. I think the biggest example of this is actually opening in the past rather than the present. We do not get to learn along with Aang that the world has changed, instead, we get to learn that 100 years have passed....which doesn't hold the same tension or worldbuilding.

Clunky Dialogue: Along with exposition, clunky dialogue is another example of bad writing. I think sometimes I felt like the acting was kind of meh in the beginning, but then over time I began to realize it had far more to do with the lines characters were trying to deliver. The actors themselves are not bad, just cursed with awkward writing and lines that feel out of touch with the setting they're in.

Main Trio: I don't entirely know that I believe Katara, Sokka, and Aang are friends as opposed to 3 people stuck together to save the world. Aang feels a little too somber for a young kid running away from his responsibilities, Sokka is protective, but not exactly the heart of the team, and Katara is sort of just there until the last two episodes. Where is her struggle, her desire to learn so strong she steals from pirates? Also, while Gordon Cormier did a great job, Aang does zero waterbending on his own, is overly serious, and tells Katara not to fight. Where is his desperation to protect his friends? It feels like they all lost emotional depth.

Tension: Bringing Ozai, Azula, and Zhao out in the beginning immediately causes us to lose the realization there is an even bigger bad. Part of why Ozai is so terrifying is he is a primarily silent villain until the third season when we finally see the face of the "big bad evil guy" behind it all. Yes, they add to Zuko's backstory, but again, they are revealing the villains too early. Azula is the antagonist of season 2 and one of my favorite characters, so I hope they do more with her in the future. Finally, Zhao is supposed to be an example of the uncontrollable nature of fire unrestrained, instead, he comes off as vaguely threatening with the supposed true power being Azula.

Characterization: While all characters are bound to lose something in a shorter show, it still felt like certain characters were more mutilated than others. I am sure there are 100 different opinions on who, but I think the biggest victim was Katara.

Katara: Katara manages to go from a complete novice to a bending master in what feels like a matter of days. The journey feels short, and that makes the results feel largely unearned. Katara is one of the strongest personalities in the show, determined, kind, and fiery. In many ways, she is the unpredictability of water - equally dangerous as it is necessary to live. She is the child of a war who lost her mother, forced to grow up too soon, and even raised her older brother. Yes, Katara often gets stereotyped as the mom friend, but overall she feels underutilized in this show. We really don't see enough of her journey until the very end.

Iroh: Iroh was always comedic but most importantly wise. Even when Zuko is trying to give himself advice, he mimics Iroh. Instead, he seems to be used more as comedic relief without the underlying experience. He just doesn't feel right. Also, he kills Zhao instead of Zhao getting himself killed - which is less about Iroh and more about the writing than anything.

Ozai is weirdly a little too nice. Yes, he burned Zuko and pits his kids against each other, but he feels toned down in a show claiming to be more mature than the original cartoon.

Azula is perhaps more realistically worried about losing her status as the golden child, but she is also missing the cruelty she and her father share. I understand worrying about making your character cartoonishly evil, but the Fire Nation is currently a deeply nationalistic empire trying to control the world. Where is the deep-seated belief that they are better than other people, not just trying to bring balance to the world? There is a line between creating complexity and toning down the very real evil inherent in this plan.

Roku: I can only say what the fuck was that. He was barely there, and not the serious master to Aang's youthful exuberance.

The Ugly

Show, Don't Tell: The show's single biggest issue seems to be speeding through story parts by simply stating things. Instead of allowing the audience to discover, trusting that we are smart enough to understand, let's just blatantly say things like Zuko is the only reason the 41st division is alive to their faces. Even though in the context of the story Ozai literally already said that.... it's the division, the division for Zuko, Zuko's division.

Thematic Misunderstandings: I think this show makes several minor changes with major implications, such as airbenders actively fighting the firebenders, when airbenders are known for their pacifist nature and the lie of an Airbender fighting force is actively propaganda. Similarly, Aang very quickly accepts his role as the avatar and doesn't even run away in the beginning. Without this conflict between his desire to be a carefree child and the fact that the world needs him - the show loses a key aspect of Aang's character. Also, the obsession with downplaying the avatar state as something dangerous feels like a disservice to the tradition, connection, and strength of the avatar, which can be permanently destroyed as the trade-off for that kind of power. It's dangerous for the balance of the entire world, not just because it's powerful!

The Agni Kai: Zuko's fight against his father is one of the defining moments of Ozai's cruelty, not just because he is willing to fight his child, but because Zuko tried to do everything right. Zuko shows deference to his father, apologizes, and most importantly refuses to fight! The determination not to upset his father and still be grievously injured and banished is a hugely important theme for the fire nation and Zuko's life as a whole. He tries to do everything he is supposed to and only regains his father's acceptance after he "kills" Aang. Zuko's struggle between moral vs. social right and wrong in contrast to his family is hugely important to his character.

-----

TLDR: ATLA was a fantastical animated television show that was never afraid to show character development and flaws. When you turn 20 episodes into 8, you are bound to lose something. You hollowed out the middle, leaving the shell of important moments and events without ever wondering if all the times in between formed the true spirit of the show.

Rating: 6.5/10 It's perfectly fine and worth a watch. Not a disaster, but certainly falls flat of the original.

[ask-the-prose]

Building a Character Arc

Hi all! These past 8 months have been a busy time huh? I’m back and hoping to jumpstart this blog with a bit more organization. So let’s get started with our next guide!

We talk a lot about worldbuilding and plotting out stories, but there’s an important factor I haven’t seen much discussion around, and that is: character arcs.

We’ll be covering character building next week, as that will build off of this post. But building a character arc is just as important as knowing all the static facts about a character and how they react to the world you’ve built around them!

What is the character’s purpose?

We love to imagine our characters as people and real in our heads, but ultimately they are a tool to tell a story. So when building your character arc, you need to know what the purpose of this character is. How do they serve the story? How do they enhance the themes?

Characters can have tons of purposes, from the protagonist to the antagonist to cannon fodder. Characters can serve multiple purposes at one time, even. So what do you want your character to do for the story?

An example: in The Hunger Games, Gale Hawthorne serves a purpose far beyond just love interest #2. Gale helps propel the plotline in a number of ways. He spurs Katniss into action when he is whipped in the town square, he challenges Katniss’ worldviews both directly and indirectly by proposing ethical and complex questions that Katniss must later answer, and he’s symbolic of an answer to the main theme of the books. He isn’t relegated to just one of these purposes, but he does have to have one otherwise, he would be irrelevant words distracting from the actual story.

What changes within the character? What doesn’t?

Characters can be divided into two categories: static and dynamic. Static characters stay the same over the course of the story, whereas dynamic characters do not. So a good question to ask yourself when building a character arc is what, if anything, changes about the character over the course of the story?

One important factor to consider is the character’s attitude towards the world, the conflict, or the other characters. If that changes, how does it change? Why? What happens to cause that change? These questions can be applied to any number of factors you wish to include, like a character’s opinion of themselves or another concept, a character’s worldview, or a character’s feelings towards their circumstances.

If the character is a static character, why? Does it serve the story’s themes?

Is your character an active participant or reacting to plot events?

Naturally, a character reacts to events and responds to those reactions through action. But do those actions actually affect the plot? Does the plot happen to the character or does the character act and consequences follow?

These seem like plot building questions, and they are, but it’s critical to understanding your characters as well. Characters that always react to the plot and have little consequences for actual actions taken tend to be placed in the “reactive” category. While I can’t speak to every style and story structure, most traditional publishers and western audiences prefer active characters over reactive characters. They want the character to impact the plot, their actions have natural consequences that push the plot forward.

Reactive characters can absolutely be utilized to tell interesting and compelling stories, though, so don’t throw out the whole story if you find your character is more reactive than active.

Conclusion

So you’ve created the plot and the premise and you need to populate your world with characters! Remember these key points in building a character arc: purpose, change, and action. Hopefully this guide can help you get on the road towards creating a character arc that not only compels your reader, but enhances your themes and serves your story.

-- Indy

[weedsmokingbf]

hi i am opening headshot / icon commissions for $8 ^_^

for more info check the link below! you can also contact me via here on tumblr :]

here are some examples of my work below!

[allthedoorsareopennow]

mechs enjoyer ask game, courtesy of THE mechs enjoyer ask guy

thought it might be fun to make a mechs ask game since I pretty much always ask the same questions so here are More questions to ask each other

1. who’s your favourite non-mechanism character?

2. what’s your favourite album in terms of music?

3. what’s your favourite story (album or smaller narrative e.g. GPTvTMK or alice)

4. whats your favourite album cover art?

5. do you have any mechs merch (official or otherwise)?

6. what’s your favourite song that doesn’t have a studio recording?

7. what’s your favourite setting (e.g. the city, fort galfridian, etc)

8. do you have a favourite piece of fanart (tag the artist and link the original post if possible)?

9. do you have a favourite piece of official fiction?

10. do you have a favourite fanfiction (again, tag the writer if they’re on tumblr and link the fic)?

11. if you were a mechanism, what do you think your mechanism would be? (credit to @dropitdoeeyes for that one)

12. do you have a favourite ship/a favourite character dynamic?

13. favourite non-singing album character? (credit to @x-ca1iber)

14. coolest adaptation of myth?

15. coolest adaptation of another song?

16. what’s your favourite instrument played by a mechanism? (credit to @submarine-prince)

17. how did you first find out about the mechanisms? (credit to @submarine-prince)

18. which mechanisms’ voice is your favourite?

19. which mechanism gives you the most gender envy?

20. have you ever cosplayed as a mechanism? if not, would you? who would you be?

21. what’s your favourite mechanisms headcanon? (maybe some big worldbuilding thing or can just be I think this mech is asexual for example)

so like the concept I guess. maybe send a couple to who you reblogged it from send a couple to people you see with this on their blog and have fun being not normal about this thing we all like :)

[coffeebeanwriting]

How to Write Supporting Characters

Here are some tips when it comes to writing the side characters of your novel. Use a few, none, or merge a couple!

1) Have your side character bring a unique perspective to your story. Think of a side character who challenges the protagonist’s morals or brings a different view to the table.

2) Give them growth / a character arc. This doesn’t have to be as well-rounded or intricate as your main cast, but even the side characters should grow in some way during the story (this could be positive or negative) unless you plan for them to be static characters.

3) Know their backstory. Even if it’s the bare minimum, come up with the reasons why they are the way they are. What significant moment(s) in their life led them to the where they are in the story? How does it impact the way they act?

4) Subplots. Side characters and subplots go hand in hand. While your main protagonist is dealing with the main plot, it can be nice to have side characters intertwining with subplots. Of course, these plots can overlap.

5) Give them a goal. Just like your protagonist, your side characters will become more complex if given a motive or agenda. Make sure you treat them like real people who have desires. What propels them forward? What is their deepest desire? What will they do if they cannot have it? Do you give it to them or not?

6) Let them make an impact. Have their actions directly or indirectly affect the main plot and your protagonist. If the side character means something to the protagonist, they will mean something to the reader. Perhaps the side character gives your protagonist a shoulder to cry on, or a weapon that impacts the final battle.

7) Give them a theme. What lessons will this side character teach your protagonist (and thus the reader)? Take Redemption as an example: does this side character cause trouble for the protagonist the whole story, only to have a change of heart in the end?

8) Give them at least one unique quality. Something to remember them by, something that makes them easily distinguishable. A lavish accent, a brutal scar, a bad habit, an obsession with something. The list goes on and on.

9) Have something they do affect the ending. No matter how small of an impact they have on the ending, consider giving them a part of it. Did they say something to the protagonist that gave them courage in the end? Did they steal something that would’ve made the ending easier? Did they alert the bad guys of the protagonist’s incoming?

10) Give them their own special setting. We all have places we prefer hanging out: a coffee shop, a street corner, the roof of a school, the mall. Anchor some of your side characters to a specific setting, that way it helps with your worldbuilding as well. Next time your main characters pass by that specific location, the readers might think of that side character.

Bonus Tip) Allow some side characters to be forgettable. Sometimes it’s okay for a character to exist for one purpose and then never be seen again. Don’t stress yourself out trying to make all your characters serve a higher purpose, because some people only exist in our lives for a short period of time. That’s just life.

Instagram: coffeebeanwriting 

📖 ☕ Official Blog: www.byzoemay.com  

[getvalentined]

What’s your opinions of the various ffvii compilation games?

Oh I am a huge proponent of the Compilation as a whole; I know that opinion is rare for someone who's been in the fandom from the beginning, but I'm an insufferable lore gremlin and I just eat up everything the series has to offer. I have three different copies of Advent Children (the original on DVD, ACC on DVD, and ACC on blu-ray) and even still watch Last Order on occasion.

The series itself is really fascinating and staggeringly consistent (I've talked about how the implied timeline of the Jenova Project as presented in-game is so consistent that it matches up with real-world human gestational science), with the exception of the FF7Re series—which I can deal with, since it's canonically on a different timeline and therefore any retcons there are literal in-universe retcons, which is pretty brilliant.

That said, I'mma put ratings for the pieces of the Compilation individually under a cut!

OG FF7: 9/10. would be 10/10 if the English localization were better. Where it all started, still one of my favorite games of all time.

Advent Children (+Complete): 8/10. Not a game, but part of the Compilation! Anyone who says the plot makes no sense doesn't realize that they're watching a sequel that relies very heavily on people understanding the history and characterization of every single character shown.

Last Order: 6.5/10. Also not a game, also part of the Compilation. Love that this is implied to literally be Tseng's coverup of what happened with Zack, presented in anime form. Makes no sense in multiple places as a result, but if you know that's what it is then you can 100% see why it's portrayed that way! Honestly I really enjoyed it and wish more people would appreciate it for what it is.

Dirge of Cerberus: 7/10. The gameplay kinda sucks but honestly the storyline is super good—or it would be, if the entire fucking prologue hadn't been cut from any release outside Japan, thereby leaving the entire issue with DeepGround completely unexplained to all other audiences. Once you know what is going on, the storyline here is fantastic, and I've never really forgiven SE for not releasing the rest of it. I love that Dirge fills in the lore for Vincent that was cut when he was relegated to "optional" in the OG, and that it also helps to clarify why Midgar could have 9 functional mako reactors while every other reactor in the world is either sputtering to nothing or exploding. (It's Omega. Midgar is built over Omega. It's the place where all lines of the Lifestream converge so that Omega can draw it all in and carry it away at the end of the world, and Shinra never discovered that's why the mako well there is so expansive. I love good worldbuilding, and Dirge is a beautiful example of that.)

Before Crisis: N/A. I want this game so bad man where is it give it to meeeee. Honestly tho I've watched playthroughs and read scripts where available, and while I don't think it looks like much fun from a modern gameplay perspective, I have huge respect for it as far as development goes. This is one of the first really mainstream mobile games ever made, it was made for flip phones, and it's super extensive! Also it gave me Veld, who is one half of my favorite ship ever, which means it automatically gets a 7/10 even if I've never played it.

Crisis Core (+Reunion): 9/10. As fun to play as the OG. When I first played this on PSP over a decade ago, it hit me with such an intense feeling of nostalgia that it almost took me off my feet. In spite of the dramatic difference between game mechanics in CC versus the OG, it felt exactly like playing the OG again, and that feeling never really left. Humanized Sephiroth in a beautiful way that pissed off a bunch of fanboys and made me fall in love with him all over again. Also introduced my second favorite FF7 character ever, Genesis, who is one half of one of my core FF7 ships, so A+ on that too!

FF7 Remake (+InterMISSION): 8/10. Had a lot of fun with this one, and it's beautiful, but it doesn't have a lot of replayability in my experience, which is a shame. Would have been 6 or 7/10 if not for InterMISSION, which was a fucking delight.

FF7 First SOLDIER: 6/10. This applies to both the Battle Royale and the title in Ever Crisis. I am not a fan of Glenn & Co. but I love 14 year old Sephiroth and really appreciate that extension of lore and worldbuilding, so it's a decent balance. I love that the opening cutscene for the battle royale literally filled a 20+ year old plot hole in under two minutes.

FF7 Rebirth: 9.5/10. The only things that could make me like this game more would be if Vincent were playable (although I understand why he's not and, in spite of him being my favorite fictional character ever, I agree with this decision), and fewer required minigames. Just cut like one or two. Or fix the controls, maybe. Glide de Chocobo is even more broken now that it's been patched.

[littlemisspascal]

Rockford & Roan Pt. 4

Pairing: Tim Rockford x Female Reader/OFC ‘Roan’

Word Count:2.8k

Summary:  “Do you doubt our match, Miss Roan?” he asks, and it’s a shocking enough question you legitimately can’t tell if he’s joking or not. But if he is being serious…

Rating: T 

Warnings: Language, Reader has a dog, Reader has military background, Superpower AU, They Were Roommates AU, self-esteem issues, soulmates-ish, original characters, worldbuilding, references of dead bodies + suicide, police, HTTYD reference, scars

- Reader has no first name and no physical traits described in detail except for being shorter than Rockford. Reader is mentioned to have hair

Author Note: Thank you so so much for all the kind support 💗

Special thanks to @beecastle for beta reading and encouraging me 💜💜💜

Series Masterlist

The Case

You take possession of one of Rockford’s spare notebooks, yellow and spiral bound, scribbling down details about the case he’s been asked by the police to help investigate.

7 suicides over the past 8 months 

Unsure why the brief lapse during the third month

Perhaps to throw police off potential trail?

Victims are all different ages, backgrounds, careers

Also found dead in different locations across Fox Leap—alleyways, parking lots, isolated spots

No witnesses

No suicide notes left behind 

Single commonality: all died by ingesting a cyanide pill

Suspects? None

Police aren’t convinced deaths are connected 

Rockford is certain they are

I don’t know what to think

The Invitation

Friday evening finds you job hunting across the internet from the comfort of the couch. It’s another one of the steps of Dr. Odair’s grand therapy plan to reintegrate you into society. Of course, what she failed to mention was that the potential career opportunities for ex-military empaths are few and far between. You lean back against the cushion, resisting the urge to grab your mug of tea and pour it onto your laptop. It’s not the computer’s fault there’s a prejudice against those with mind-gifts after all. 

The squeaks of Banjo’s stuffed toy pull your attention towards the dog rolling around on the floor, his beloved plush panda Bamboo held between his paws, teeth gnawing at its leg. Rockford lies stretched out on the white rug nearby, eyes closed, the picture perfect example of tranquility. He isn’t sleeping—you can tell by the tapping of his fingers against his stomach, a song only he knows—but it’s nice to pretend. For all that you’ve pestered him with questions about his job and for all that Rockford has patiently answered each one without even the tiniest thrum of irritation, his bizarre, seemingly nonexistent sleeping schedule is a topic you’ve yet to broach with him. 

Brown eyes snap open, startling you so badly it’s a miracle your laptop isn’t sent crashing to the floor. Before you can ask what’s wrong, Rockford’s on his feet and stalking off down the hallway in a blur. You blink, caught off guard, and exchange a look with an equally bewildered Banjo. Should you follow after him or…?

A knock on the front door makes the decision for you.

The prospect of a guest sends Banjo into a tizzy, ditching Bamboo without remorse, tail wagging so fast it’s a wonder it doesn’t fly off. You can’t exactly blame him. Other than a quick visit from the landlady to give you your own set of keys and introduce herself— Professor Rosasharn Claremont, an instructor of forensic sciences at the local university with prehensile hair she used to slap the back of Rockford’s head for not visiting her enough—nobody’s knocked on the door as long as you’ve lived here.

You’re not sure who’s brain function shorts out first when you open the door: yours or the unknown man wearing a police badge on his belt. He’s middle-aged, dirty blond hair, a scar twisting along in a distorted line from the left side of his mouth to his ear. A hideous mark, but at the same time intriguing in its uniqueness. You can’t help but think how if it was copied onto the right side, it’d almost look like some kind of villainous grin.

Banjo’s attempt of squeezing between your leg and the doorway to get a good sniff of the man is enough to jumpstart you back into motion. Nudging him away with your socked foot, you tell him to return to his bed, punctuating the command with a firm point of your finger. Only once he sullenly pads away, ears drooped as if you’ve just gutted Bamboo right in front of him with a butcher knife, do you turn back to face the policeman, who appears to have also gotten over his initial surprise.

“Can I help you, officer?”

“Inspector,” he corrects with an accent you can’t quite place, almost like a rumbling sort of growl, but despite the harsh sound his tone is polite as he introduces himself. “Inspector Dorrance with the Fox Leap Police Department. I’m here for Tim Rockford.”

His emotions are almost unnaturally steady, like he’s got the internal parts of a clock ticking away rather than temperamental hormones. You figure he must’ve gone through some sort of training course for mood management. Smart. A lawman with a high pressure job, anger issues, and a loaded gun is a disaster waiting to happen.

“Oh, is this about the case?” you ask with far more perkiness in your voice than you intend. 

“He told you about that, did he,” Inspector Dorrance says in the exact same instant that Rockford calls out from the depths of the apartment, “Get to the point why you’re here, Kez.”

Kez? You mouth to yourself before opening the door wider, inviting the inspector to step inside. He isn’t subtle as he looks around, gaze lingering noticeably on the few personal items of yours spread throughout the room, before he turns towards the hall.

“Another body’s been found. Abandoned warehouse near the wharf.”

“And?” Rockford asks, still out of view. 

Dorrance side-eyes you, clearly debating with himself the legalities of discussing an open case with a civilian present. A civilian he clearly knew nothing about as of two minutes ago. You offer up only silence in response, too curious for your own good to leave without him directly asking.

“Oh for fuck’s sake.” Your roommate emerges from his office, his trench coat gripped in one hand and mouth fixed in an unimpressed frown. He gestures between you and the inspector. “Kez, my current roommate and match, Roan. Roan, my ex-roommate and one of the only competent members of law enforcement in the city, Keziah. Can we get back to the victim now?”

Your eyes widen. Ex-roommate? How long have they known each other? There’s definitely a story there. 

“I’m sorry,” Dorrance begins, “did you just say she’s your match? When the hell were you going to tell me this happened?”

“Apparently not,” Rockford mutters. “I was going to tell you when it came up. And it just did.”

“You—” Dorrance cuts himself off with a sharp exhale through his nose.

It really is a credit to Dorrance’s mood management training his emotions don’t even so much as dip or catch fire. Instead, he shoots Rockford a look that plainly says, We’re going to be talking about this later, and then turns to face you once more.

“I wish we were meeting on better circumstances. And I’m sure I don’t need to tell you since you’re his match that underneath this—” he gestures vaguely at Rockford which doesn’t go unnoticed.

“You just gestured to all of me.”

Dorrance carries on, unbothered, “—is a giant question mark nobody will ever find the answer to. But if I were to bet on anyone coming close, I’d put my money on you.”

“Thank you, I think,” you say, daring a quick glance at Rockford’s face, which you’re pleased to notice has softened the tiniest bit. “You’ll be the first one I tell if I do.”

For whatever reason, your answer has the inspector immediately smirking, left side of his face stretched tight due to the scar tissue.

“Kez, in addition to being a recurring pain in my side,” Rockford explains, sensing your confusion, “is also a lie detector. Any hint of dishonesty and his gift’ll catch it. Makes him handy in the interrogation room.”

Gifts can be interesting like that sometimes, lining up perfectly with a specific job. A singer with the ability to alter their voice to any pitch, a fireman with an immunity to burns, a veterinarian who can speak to animals–you’ve seen them all. Human lie detector is a new one though, you’ll admit.

Dorrance shoves a hand into his pocket, fishing out his phone vibrating with an incoming text. He scans the message, smirk wiped off his face and replaced with grimness. 

“Right, back to the reason I came over,” he says briskly, tucking his cell away again. “You know how the victims never leave notes?”

“Yes.” Rockford’s listening attentively, eyes narrowed. “What of it?”

“This one did.”

Rockford’s expression doesn’t change, not even a twitch of his brow. His mind though, oh his mind’s the calm before the storm. Something’s beginning to stir awake underneath the surface. Tempted by the reveal, hungry for more details to dig its teeth into. 

For weeks you’ve wondered about the depths unknown to your empathy, about what lurks there. You’ve got a distinct, icy certainty crawling up your spine you’re soon to discover another side of your match previously unseen. 

“Will you come to the scene?” Dorrance asks hopefully.

“Of course. No point sitting at home when there’s an exciting development going on.” Rockford begins slipping his arms through the sleeves of his trench coat, adjusting the collar to his liking. “It’s been awhile since I’ve been down to the wharf.”

“Just try not to piss off anyone, will you? One dead body is enough to deal with as it is.”

“I’ll be on my best behavior,” Rockford says with a wry grin. Then, turning to you, he arches an eyebrow, “Well, Roan, you got any plans this evening?”

You think of your laptop back on the couch, numerous job sites still left to be checked. 

“Uh, no,” you answer, shaking your head. “Not really.”

“Roan was in the military,” your roommate tells the inspector, but his eyes remain held on your face, a speculating glint in them that has you subconsciously straightening up. Almost as if you’re standing at attention. “You saw a lot of violent deaths, didn’t you?”

“That’s an understatement.”

“Witnessed several dangerous situations?”

“Worst of the worst. Stuff of pure nightmares.”

The atmosphere in the room shifts, becoming heavier. There’s a crime scene needing to be examined, a case to be closed, and yet everything seems to have slowed down all at once. As if the very air itself has frozen solid. And you realize you’re holding your breath, waiting for something.

“Want to see some more?”

An invitation.

Dr. Odair’s been telling you now that you’ve matched and your mind-gift has become more manageable, it’s time to pick up some hobbies. To go out to more places for fun other than just the library and dog park. No doubt she was probably thinking of safe and relaxing options like chess or badminton or pottery classes at the rec center.

The problem though, is that safe and relaxing doesn’t spark a wildfire in your blood, bringing you back to the days where you had a clear purpose to fulfill and problems to deal with head-on. You want another adventure, and here’s one dangling right in front of you, just waiting for you to say—

“Hell yes,” you blurt out, and even without your mind-gift you can tell Rockford’s happy with your choice by the half curl of his mouth and crinkling around his eyes as he asks Dorrance for the address.

The Doubt

Rockford holds the cab door open for you, sliding in after you’ve settled against the plush seat with Banjo secure in your lap. The little mutt’s tail beats a rhythm against your jacket, excited about the trip even if he has no clue the final destination. You’re still not convinced bringing a dog of all creatures to an active crime scene investigation is the wisest move, but let the record show your roommate has a helluva weakness for Banjo’s puppy eyes. 

“Keziah’s team of imbeciles disguised as CSIs are wreaking havoc on the scene as we speak. I highly doubt there’s much more damage Banjo can cause,” Rockford had said with an amused look when you voiced your concern. “Besides, no man left behind. Isn’t that the military creed?”

And well, he wasn’t wrong about that. (Not to mention, you’ve got a pretty big weakness for Banjo’s sweet brown eyes too…)

The drive to the wharf is brief without too much annoying traffic. Outside, the sun’s dipped out of sight and darkness is enveloping the city, street lights blinking on. Inside, it’s quiet except for a country song playing lowly on the radio. The cabbie’s mood is easygoing if not a little bogged down by exhaustion whereas Banjo’s is a bouncy spring of enthusiasm, nose practically pressed against the window as his eyes struggle to keep up with all the sights rolling past. Still, as entertaining as the pup’s emotions are, your mind-gift continues circling back to the man sitting next you like a homing pigeon.

Nothing’s changed within his mindscape during the journey. The calm, almost eerie stillness from before is still in effect. You can tell he’s thinking about something—the man’s never not thinking—but whatever it is clouding his gaze, furrowing his brow, is not disturbing enough to imprint upon your empathy. It’s moments like this one where you wish you were a mind reader, if only for a few seconds. 

“We’re here,” Rockford announces, paying the cabbie his fare.

Scrambling out of the vehicle, you set Banjo down on the ground. While he performs a full-bodied shake, you take in the cluster of police cars and flashing lights and abundance of barricade tape surrounding a warehouse, derelict and foreboding, along the waterfront. The press have also caught wind of the scene, prowling around with their microphones and cameras like vultures. You swallow, subconsciously twisting the leash around your fingers.

You’d wanted an adventure and yet…this is all so very, very different from a battlefield. It’s a whole other form of organized chaos, and it’s terrifying not having the slightest clue how to safely navigate it. 

Your initial fears were misplaced. It won’t be Banjo making a mess. It will be you.

Rockford starts forward, clearly eager to get to work, only to halt after five steps when you fail to follow. He turns around to look you over from head to toe, carefully nudging at your mind-gift as he does so, confusion only deepening when he fails to understand your lack of movement. “Is something the matter?”

You bite your lip, glancing nervously once more between the hive of activity and his steady brown eyes. “I don’t think I belong here.”

Rockford stares at you, the glow of the street light illuminating one side of his face. 

“Do you doubt our match, Miss Roan?” he asks, and it’s a shocking enough question you legitimately can’t tell if he’s joking or not. But if he is being serious…

Your head’s already shaking aggressively before a response forms. “N-no, absolutely not!” you say hastily, frantic to assure him of the truth. You close the gap of distance, hoping somehow being closer will remedy the spiraling situation, but when that doesn’t smoothen out the wrinkles on his forehead your empathy reacts by hurling a tangled ball of loyalty-friendship-safety-contentment straight at him. The most desperate of Hail Mary plays.

Rockford sucks in a breath. You watch his expression spasm, knocked off-kilter, before it settles into something as exasperated as it is fond. This time, the nudge against your mind-gift is firmer, the only warning you get before the ball you’d thrown returns and smacks you square in the chest. 

“Oh,” is your immediate reaction, breathless from the intensity.

What was it he had said before? You and him are two halves of the same whole.

And then there’s a warm hand on top of your head, gentle, affectionate, and you’re breathless for an entirely different reason. You blink up at Rockford, heart thudding in your chest.

“That’s right. You,” he says slowly, purposefully, “belong anywhere I am. Banjo, too.”

Banjo woofs, baring his teeth in a snaggletoothed grin, and you’d chuckle at that if you had any air left in your lungs. Not for the first time, you cannot help but marvel at your match’s realness. There’s no such thing as perfection, but you think he comes pretty damn close. 

“Now you’ve done it,” you aim for humor, but you can’t shake the wobble from your voice. “You'll never know a moment’s peace again.”

“Ah, peace is overrated,” Rockford declares with an unconcerned shrug, hand returning to the pocket of his trench coat. “So, we’re in agreement then. We’re stuck with each other.”

“Mhmm, no take backsies.”

You needed this moment, this reassurance. The doubts you hadn’t even known you carried have been firmly put to rest, vanquished by the proof he values the soulbond tying your lives together just as much as you do. 

But despite the importance of this conversation you can’t keep ignoring the flashing lights up ahead forever. Your eyes slide past Rockford, spotting Inspector Dorrance in his grey suit amongst the sea of navy uniformed officers gesturing with his arms.

“Ultimately, it’s your choice where you go,” Rockford says, and it’s clear he’s made up his own mind by the way he turns away from you, resuming his walk towards the scene. 

You watch the dramatic flaring of the bottom of his coat with each step, watch the tapping of his fingers against his left thigh, watch as the man tosses one last remark over his shoulder:

“Keep up, Roan. We both know you’re coming with me.”

By the time he reaches the barricade tape, you and Banjo are right by his side. Exactly where you both belong.

[stromuprisahat]

Shadow and Bone- Chapter 8

Where the fuck is Alina from?!

Sure, it’s probably another example of shitty editing work, or unfinished worldbuilding, but...

Alina Starkov, a mapmaker, who gets lost in a town she lives in for two weeks and cannot determine cardinal points on a map...

[ofbreathandflame]

Personally, I dnt see Nesta abusing Feyre because of how vague their history in their past home was like. They seemed on v equal ground wit the way they argued and fought. Feyre calls Nesta a burden then Nesta retaliates. Nesta warns Feyre about the old hag and Feyre brings up their past fight from the other night. Nesta tries to save Feyre and Feyre realizes there is more to her sister than she thought.

They always were at odds with each other but their never seemed to be any serious power dynamic between them. Neither was afraid of the other and both saw themselves in the other. I honestly think they both have stuff to answer for from their days in the cottage.

In SF, the book even says that Feyre wasn’t perfect and that she made mistakes but their past doesn’t have to define their future. Again, we dnt know what those mistakes could have been since there is such vague exploration of their dynamic back then. But passages in the books like these make me see that it wasn’t abuse between them. It certainly wasn’t healthy but definetly not so one-sided as many antis make it out to be.

hi anon!!

my response is loooooong 😭

i do really want to talk about this. i think the set up in the cabin is very important to the foundation of the sisters' relationship, and because its left as this gaping hole that lacks nuance and logic, it muddles the characterization going forward. a court of silver flames runs into trouble for this reasons, hence why is said it employs the use of 'placeholder' plotlines. to start, as many have stated before me, the set-up in the cabin makes no sense. none. not even a little. that matters for a lot of reasons but specifically because we can't really argue the validity of any of the sister's actions when the worldbuilding around them has none to begin.

its very hard to apply a real system of continual power, abuse, and neglect, when the circumstances around such dynamic is vague and uncommitted. the story doesn't want to commit to the consequences, but it also doesn't want to establish a relationship between the sisters without placing feyre as the permanent victim. so - it created an absurd scenario that doesn't make any sense. what i am saying is - the story has to go wayyyy out of its way to make elain and nesta 'villains' - to the point that the plot can't even support it. like for example, the girls live together in the cabin without feyre hunting for about a good 3-4 years. that means: someone clothed them, someone fed them, someone cleaned, someone took care of them. someone picked up the slack and its wasn't feyre. we know that mama archeron dies when the girls are 8, 10, and 11 - and the shortly after that, they lose their wealth. so - the girls are maybe 11, 13, and 14. literal children. and again - someone had to be taking care of them, a dynamic existed before feyre went hunting, but somehow never gets brought up. if the story is committed to this story, why doesn't it highlight nesta/feyre/elain's relationship in the moments where feyre isn't hunting? what was their relationship like? what was feyre like? these are perfect moments to establish the relationship. even if the sisters were lazy - what would they be doing all day? how would they even sustain themselves on meat all year long? even if the sisters were evil sisters there's little motivation for them to even be like this. the sisters are only three years apart. literally. when feyre was 8, elain was 10, and nesta was 11. thats not a big enough age-gap to even sustain partially of what the story argues about why the sisters have a disconnect. nesta would have been a BABY when feyre and elain were born - where is the motivation? how do elain and nesta develop a faction when they would have been mere toddlers when feyre came into the picture???

either papa archeron isn't a deadbeat or some mysterious force clothed, bathed, fed, and took care of them. like even the circumstances behind papa archeron being a deadbeat make no sense??/

and then there's the added layer of the suppose abuse the grandmother and mother were doling out to nesta, elain, and feyre. nesta was physically abused, and feyre was neglected to hell and high water - there's a plot pont to exploit right there. if the story wants to commit to nesta being abusive, but also wants her to be sympathetic, validating where her anger comes from, while acknowledging how it negatively affected her relationships with her sisters would be the perfect way to go. playing into the mirror sacrifices these sisters (youngest and oldest) made towards one another would have been *chefs kiss*. but again - the story leaned way too moral to even attempt a conversation like this. its willing to forgive the tamlins, rhys's and cassians, but not the women in the story. the thing is - the story doesn't commit to real faults with feyre - and it doesn't do that with nesta or elain either. they are only a standard to compare feyre against. and that's why the story cannot commit to a basic conversation between the sisters - there's nothing that exists between the except the drama. nesta has to atone for mystery reasons bc the story has rewrote their dynamic too many times. sjm acknowledges that the sisters are caricatures at this point of the story, but she doesn't rewrite the first book to accommodate her switch is plot direction.

nesta can't really tell feyre 'why she treated her x way ' bc the story doesn't know why either. a reason doesn't exist. elains book will probably have the same issue, on an even broader scale bc it doesn't actually have a reason these sisters chose to stare at a wall for 24 hours out of the day. the reason elain 'chooses not to help' is even more flimsy than the reason it gave nesta. esp bc the story later establishes that elain isn't even supposed to be a bad person, she can actually be caring. shes also a gardener so it also makes no sense that she would...cringe away from feyre bc of dirt???? that part makes no sense. she literally refused gloves at some point bc she liked to use her hands. she does so in the same book. and i don't even like this character but its the truth, and its why i cannot adequately take what the story argues about the sister seriously. nothing about what it argues makes any logical sense. it for this story...yeah that matters.

so....its valid that people don't take those chapters seriously. they are actually written with unserious intent. like how can i be angry at the sisters when the story argues they were essentially staring into space for eight years??? argues that papa archeron with 10000000 connections couldn't just....use those connections like he literally did near the end of tar and war? that the sisters could live off wild meat for years and still be alive? that toddler nesta and baby elain annexed toddler feyre??? its an unserious situation here. like feyre would rather -- @ 11, 14 or whatever age the story chooses to argue -- would immediately turn to the deadly woods and not yknow...an actual job??? mmkay.

[penguinmichael]

Analyzing Arcane: A Critique of Classism and Bureaucratic Corruption

Part 1/2

SPOILERS FOR ARCANE SEASON 1

In 2021, the indie studio Fortiche released an animated series called Arcane in collaboration with the video game company known as Riot Games. The game utilized the characters and world of their most popular game franchise, League of Legends. The show was critically acclaimed by both new audiences and fans of the game it was inspired by. The 9 episode animated series was revered for it's incredibly stylized art style, fast paced writing, and dynamic world building. However, a particularly interesting element of the show was the way it tackled various socio-economic issues. The show takes place in the fictional nation of Piltover, where various high society inventors would get together and create fantastical inventions. Below the nation lies a place known as the Undercity, where those of lower wealth reside and are forced to endure treacherous plights while the people in Piltover hoards all of it's resources. Through this simple setting, conflict occurs. There is a distinct antagonistic relationship between upper and lower class citizens, which forces many of the characters to challenge their predetermined notions and biases. These situations can easily be compared to real life instances, and the television acknowledges the underlying roots that cause these problems to fester in the first place. This problem is addressed through the overarching worldbuilding, the characters, and the supernatural aspects of the show.

SECTION 1: A WORLD OF CONFLICT

Classism: Prejudice or favor of people belonging to a particular social class.

The television series Arcane contains varying levels of conflict that dramatically affect the characters and the fundamental system within the two cities. The main conflict resides in the consistent mistreatment of the denizens within the Undercity, and how one particular incident ended up with high tensions between the two groups. Years before the first events of the show, there was a riot that occurred at the bridge that would connect the Undercity and Piltover. Piltover's enforcers, who are the equivalence of police investigators in the city, were sent to shut down the riot. The riot quickly became violent, and the entire bridge was quickly engulfed in flames. Many people died at the hands of the enforcers, and both sides had people who wanted to ensure that it never happened again. This event is a trigger for much of the upset within the Undercity. Many characters in the show would talk about how the enforcers would abuse them, and how no matter how hard they worked, they would always end up with the scraps while Piltover profited off of them. This event possesses many parallels to real world riots. For example, the Haymarket Riot that occurred on May 4th, 1886. The riot began peacefully as a demonstration of workers rights during an 8 hour work day.

The violence at the riot quickly escalated when dynamite was thrown a the police, which ensued random gunfire by the police into the crowd of rioters. This lead to the deaths of at least 8 people, and left 40 others injured. Writer Hartmut Keil discussed the historical ramifications of this massacre, stating, "U.S. historians have attributed to Haymarket local as well as national significance; they have viewed it as a conspiracy by the ruling elite against the labor movement, as a death-blow to anarchism in the United States, as an attempt at weakening the eight-hour movement, and as a critical watershed for the organization of American labor at large." (Heil, Hatmut) It is also noteworthy to mention how this riot took place on the tail end of the Industrial Revolution, there was an increasingly bigger gap of technology between the upper and lower classes. This draws from a more minor conflict within the show, and that is the dirtiness of the Undercity due to the lack of better technology. One major character, Viktor, becomes terminally ill due to inhaling an overabundance of chemicals in the air. Meanwhile, Piltover not only has clean air, but is seen as a wealthy pillar of innovation. The Haymarket riot is only one example of how Arcane draws from real world events to tell a story and form a complete message.

An additional conflict that occurs throughout the story is the constant negotiation and corruption that exists between the Enforcers from the Upper City and the business owners of the Undercity. In the beginning half of the show, this negotiating occurred between the characters Vander and Grayson. Vander is a well liked bartender in the Undercity, and everyone in Zaun respects Vander. He was also the leader of the initial riot at the bridge, and deeply regrets his decision to fight as it lead to the death of many of his friends. Grayson, on the other hand, is the Chief Enforcer. She is also well aware of the damage that another riot will bring, and tries everything in her power to prevent it. The two strike a deal.

(Grayson and Vander privately discussing the terms of their deal.)

Grayson agrees to keep her Enforcers out of the Undercity as much as possible, as long as Vander agrees to prevent people from the Undercity to cause trouble in Piltover. The deal, however, is not an equal one. Vander is forced into a corner as he does not contain nearly as much military power as Grayson does. And although Grayson does not want violence, she does not have much of say over her troops if Piltover's governing council feels threatened. A special report by David Bayley and Robert Perito identifies this particular form of corruption, "The notion of “noble-cause corruption,” that is, illegal actions undertaken to achieve laudable ends, is a contradiction in terms in relation to the narrow definition. Noble misbehavior by police refers to actions undertaken on the presumption that they achieve a larger social good, such as the extrajudicial killing of vicious criminals or dropping of malicious prosecutions." (Bayley, David)

This deal keeps the peace for a while, however, as the issues in the Undercity are repeatedly ignored, the people of Zaun become restless. These leads to an internal discourse between the people of the Undercity. One side wants to fight the Enforcers while the other wants to prevent more bloodshed. What do the Enforcers do about this? Nothing. They instead cause more problems as they mindlessly barge into the Undercity, looking for the thieves who robbed an inventor's workshop. This conflict coalesces into a massive power shift. Both Vander and Grayson perish from this battle, and two new sides are created. Marcus, who was Grayson's assistant, becomes the Chief Enforcer and works out a deal with Silco, a notorious crime lord in the Undercity and the main antagonist of the series. This deal is marginally worse, for reasons that will be better explained later on.* The concept of police making bribes with business owners is not a stretch of the imagination by any means. The special report also referenced, "The reports of the thirty-two police commissions on the police identified thirty-five forms of corruption, which can be grouped into four categories: scale and organization, predatory forms, subversion of justice, and gifts and discounts." (Bayley, David) There is a massive amount of corruption and bias that exists within the police system, and Arcane emphasizes this through the interactions within it's world.

SECTION 2: THE DIFFERENCES OF PERSPECTIVES

Arcane also utilizes it's characters as a mouthpiece of it's core themes and messages. The story revolves around at least 10 major characters. Each with their own backstories and perspectives that interact with one another. Each choice a character decides to make drastically effects the course of events that happen throughout the narrative. These choices come from predisposed beliefs that each character contains. For example, a character from Topside may automatically distrust a character from the Undercity. Below is a description of some of the key majors characters, and their ideologies that are a direct result of the hierarchical system of Piltover and Zaun.

(Character name from left -> right: Viktor, Heimerdinger, Mel, Jayce, Caitlyn, Vi, Vander, Silco, Jinx/Powder)

Vander: Known as the "Hound of the Underground," Vander is a large, bulky man who prioritizes keeping the peace above everything else. He runs his bar "The Last Drop" and takes in the orphans Vi, Powder, Mylo, and Claggor. He is haunted by his past misdeeds, and is partially responsible for Silco's resentment. Vander represents a misguided complacency, and his faults lie in his avoidance to conduct any change in the unjust status quo.

Silco: Another resident of the Undercity, Silco is a deceitful, calculative crime lord whose main goal is seperate the Undercity into a seperate nation of Zaun. He plans to do this by using Shimmer, an addictive substance that grants temporary super strength to those who consume it. He is the archnemesis of Vander, whom left him to die after a fight on whether or not they should launch an attack on Piltover. Silco represents the highest form of radicalization against the monopolistic hierarchy of Piltover. He possesses an end justify the means' mentality by using his criminal organization to topple the power of Piltover's government. Because of this, he is seen as an unethical monster to most of the other characters.

Vi: The oldest of the orphans that Vander adopted, she is a tough and rebellious thief that wants to fight for the Undercity that she grew up in. Her parents were killed during the riot on the bridge. She is the biological sister to Powder. Vi represents a younger, more naive perspective of fighting for what you believe in no matter what. Towards the beginning of the show, she does not fully understand the cost of what a full revolution would truly have. Despite this, she follows Vander out of a familial bond.

Jayce: Jayce is a young inventor from Piltover who experienced first hand the power of magic. He wants to combine magic and technology to bring forth a new era of progress in Piltover. He succeeds in this endeavor, and creates what is known as hextech. Hextech is the combination of science and magic to create new inventions. but becomes so swept up in politics that he begins to lose sight of why he wanted to do these things in the first place.

Viktor: Viktor is a young scientist who moved from the Undercity to Piltover in order to attend a prestigious academy. He meets Jayce, and assists him in his invention of hextech. Viktor, unlike Jayce, does not get too involved with the politics of Piltover, and becomes increasingly frustrated at Jayce's hesitance to push newer inventions to the public. This impatience is exemplified by the fact that Viktor is dying, and wants to progress hextech to a point where it can potentially heal his disease.

Jinx/Powder: The youngest orphan that Vander takes in, and is seen as helpless by most other characters. In order to prove herself, Powder uses a force she does not fully understand and incurs a tragedy that leads to the death of those close to her. She is then taken in by Silco, who becomes an adopted father to her. However, as she becomes more violent and impulsive. She, like Silco, becomes a major antagonist towards the second half of the show.

Jinx is an important character due to her development throughout the series. Her relationship between her sister Vi and Silco very much resembles the relationship between the upper and lower cities. While she wants to depend on Vi, and have her sister there to look out for her, she cannot deny the damage she both endured/ inflicted. Much like Zaun, Powder reaches her breaking point and decided to become the villainous Jinx by the end of the first season.

Each of these characters interact in a way that advances the concept of these barriers that exist between the upper class and lower class.

The above clip is an example of how societal differences can affect how a character may perceive a different "group" of people. In this scene, Jayce reaches a limit and lets his internal biases control his advice to Viktor. The show does an excellent job at avoiding focalization- and provides other counter views in the story so the audience can immediately come to the conclusion that Jayce is clearly in the wrong for saying something like that. This comes to an emotional point in the show, where Viktor explains how he is FROM the Undercity, and Jayce realizes the impact of his words.

This is absolutely true outside of fiction. The article "The Dangerous Separation of the American Upper Middle Class" describes the disconnect as, "An upper middle class status is likely to be both a cause and consequence of a high degree of self- confidence and ability to navigate the complexities of the world." (Reeves, Richard)

The graph above compares the proportion of those believing things are changing too face and the amount of income they have. Interestingly, those of higher income are more comfortable with change than those of lower income. These complex viewpoints are shown in Arcane, particularly with Silco. Silco fears the development of hextech, because that means Piltover can create a better defense for itself against Silco's shimmer. He desperately wants to delay it's progression because he believes that the Undercity will not stand a chance against it.

SECTION 3: MIXING THE FANTASTICAL WITH THE POLITICAL

The central story of Arcane revolves around the development of two technologies: Shimmer and Hextech. Shimmer is a purple liquid substance that puts it's consumer into a manic bloodlust. The consumer possesses supernatural strength, however will return to normal after the effects wear off. This substance is extremely addictive, and spreads rapidly throughout the Undercity. This is executed by Silco, who creates multiple Shimmer factories in the Undercity.

(A vial of Shimmer being held by it's creator, Singed)

The fictional substance of Shimmer is a clear symbol for real-life drugs that have created an epidemic in society. It closely resembles steroids or hallucinogens. Steroids can give temporary muscle growth, however, there is an extremely large risk on a unhealthy dependency. The Journal article Drug Legislation and the Minority Poor mentions, "Minority communities have been hardest hit by addictive drug epidemics over past decades and the sentiments of their representatives will of necessity carry great weight in legislative debates. The violence associated with the sale and use of drugs is found primarily in the minority communities of large and medium-sized cities." (Kornblum, William) The correlation of drug usage and low income has been an issue throughout American history. But why is Shimmer most popular in the Undercity? It is because of the lack of power the citizens feel like they have. Many Undercity residents are forced to defend themselves against criminals, and this desperation has them clamoring for any form of power they can get. The St. Joseph Institute states that drug abuse can come from, "Feeling as though you are powerless over your own future..." (St. Joseph Institute). Poverty increases vulnerability and fear, and that fear is covered up through drug addiction. Arcane shows how this feeling of helplessness stems from the lack of proper protection from those who are supposed to protect them.

The other primary invention throughout the show is called Hextech. It was developed by Jayce and Viktor. It is the combination of magic and technology, which was originally a taboo within the community. Hextech is used to create incredible inventions. One example being a way to teleport an entire flying ship to other nations. This granted huge benefits to international trade, and Jayce was seen as an icon by Piltover.

(A Hexgate, which transports airships across the world instantly.)

As tensions build between Topside and the Undercity, the ruling council of Piltover approach Jayce and Viktor with ideas of using hextech as a means of defense. Both Jayce and Viktor are opposed to this, because it went against what Hextech was designed to do in the first place. They created it in order to help people only. But, due to the divide between the two sides of the nation, it was being used to harm others. A Pandora's Box was opened. The story turns from an attempt to create something new to an arms race. Hextech was kept from Undercity in order to prevent Undercity denizens from using it to revolt. Historically, there has always been a level of inaccessibility of new technologies for lower class citizens. In modern times, the technology of a school possesses greatly impacts the effectiveness of educating it's students. The article Is Technology Widening Opportunity Between Rich and Poor Kids? references sociologists Keith E. Stannovich and Anne E. Cunningham, who says, "'The very tool designed to level the playing field is, in fact, un-leveling it. The not-so-small disparities in skills for children of affluence and children of poverty are about to get even larger.'" (Paul, Annie) While educational technology and weaponry are very forms of innovation, they mark a similar precedent. Arcane highlights how something that may seem beneficial for all may only create a bigger divide.

The series Arcane does an effective using it's story to commentate how there is a fundamental disconnect between the upper and lower gaps. Additionally, those who govern this society will inevitably abuse the system they control in order to make themselves feel safer or wealthier. While violence is not an answer to these issues, allowing them to sit and fester will make the gap worse. If class equality is to be achievable, those who are not given a platform must be given it. And the higher class must do their part to adequately assist in reform.

[sultrybaby]

Enhypen Jake boyfriend headcannons

💞Warnings: there are instances where the reader is advised to assume a certain character trait- even otherwise, it might not feel completely self insert (although I feel like that is pretty common in these headcannons so 🤷‍♂️), profanity💞 Word count: 300+ 💞Pairing: Jake x gn!Reader💞 Genre: Fluff,  (established relationship)

I always imagine jake having a sort of ritual with their S/O where he sends them pictures of random memes on the internet that he claims to look like you (the memes being like, psychotic, batshit crazy)

He seems to be someone who would put substantial effort into conversing with you when you're discussing an interest of yours that he is not familiar with. For example, if you were talking to him about a new movie that you watched that you are absolutely obsessed with, one that he hasn't watched  yet or isn't interested in,  rather than just being like "who's your favourite" (which of course, he will ask) he will also ask you what your favourite moment in the movie was- why that was your favourite moment; if fantasy, then he would ask of your opinion on the worldbuilding, "Were you okay with the pace of the plot, you know, as someone who only tends to watch long shows?" He takes lots of conscious effort into doing this, and is well aware- and proud- of it

I think he is one of those people who can tell whether you require advice or comfort, whether it is the right time for it, whether you would be okay with physical touch as comfort, whether a joke would be appropriate in the moment, etc just be observing the state that you're in- he just gets you.

He seems quite versatile in his social energy. Like I know he is an ISTJ, but he seems to be introverted in the sense that he requires time alone to recharge, rather than having a preference for being by himself (if that makes sense- like he had isolationist tendencies but nothing against social interactions). I feel like this makes him capable of complementing his partner. If you are extroverted, he would look out for how you are exerting yourself, whether you are going into people pleasing mode, whether you are socializing as a method of escapism and warn you to fix the problem properly. If you are introverted, he would find the right situations with the right people to help you learn how to not depend on anyone to get your point across, he would help you develop confidence without losing control, and help you maintain it.Hhe would tell you of plans three weeks in advance, and when discussing things you could do together, checks in his schedule way ahead to make sure you have time to mentally prepare for it. He will cuddle up and watch netflix with you after you cancel a plan last minute because it just felt exhausting.

I feel like if you are someone who is not good at communicating, then it will be frustrating for jake, and so the two of you will create a communication- comprehension system: you have to communicate certain things with jake, and jake offers to learn how to comprehend your behaviours. I think this will create some cute traditions like going to the same cafe after work on fridays and taking it slow, discussing work life until the cafe closes and then coming home at 8; Small sticky notes posted around by jake with his concerns, asking you to either tick an option or write something else in case you don't want to talk about it.

Taglists:

Permanent all works:

@thomas-the-tank-engene @goldenhypen

Permanent kpop:

@soobin-chois @one16core

Enhypen:

@yogurteume @annoyingbitch83

(taglists are open)

[nivenus]

I just saw Avatar for the first time since it was in theaters 13 years ago. Some quick thoughts.

1) The CGI (mostly) still holds up. Aside from one sequence near the beginning, I don't think you can really tell this was made more than a decade ago. That's pretty damn impressive since CGI often ages poorly.

2) It's a better film that I gave it credit at the time though it's still quite flawed in some ways (more on that in a bit). But after a decade non stop of Marvel, DC, and Star Wars as the dominant box office brands it stands out a lot more and feels a lot more original.

3) It's hard not to perceive part of the backlash against the film among nerds (which I think the success of Way of Water has shown did not reach into the mainstream) comes from the fact that this film makes the Colonial Marines from Aliens the bad guys. Unequivocally. As someone who thought the Marines were never the most interesting part of Alien or its imitators that doesn't bother me as much.

4) I think another reason people (myself included) backlashed against the movie is that it is overwhelmingly, heart achingly sincere. There is not a sarcastic or self-mocking bone in Avatar's body. Everything it does is done with deliberate, open hearted purpose and frankly a lot of us nerds are uncomfortable with that! But again, after a decade of films aping the wink wink wisecracking of 2012's Avengers, one might argue Avatar's bleeding heart is actually a major plus in its favor.

5) That being said, it's not flawless and one bit of criticism from 2009 remains quite relevant: the film, while unequivocally anti-colonialist, is made with an entirely white lens. The Na'vi are the good guys, yes, but with the exception of Neytiri (and only barely to be honest), they're never the *heroes*. The greatest ass kicking moments, the greatest triumphs and heartbreaking moments belong not to them but to the humans like Jake, Grace, Norm, and Trudy. The Na'vi are sympathetic, but we don't see anything from their point of view: they're accessories to the human characters' emotional journey.

6) That being said, if this was the first movie you saw about colonialism I think you'd be hard pressed to come away from it thinking that was a *good* thing. Cameron is not the least bit subtle about painting Quaritch and RDA as the bad guys nor about drawing comparisons between them and not only historical colonizers but the modern U.S. military (see point 3).

7) One thing I appreciate a lot more now than I did in 2009 is the sheer volume and quality of worldbuilding. It's clear this was a passion project for Cameron and he put every bit of detail he could cram in. It's also a very notable early example of a conlang that isn't either Tolkien or Klingon.

8) Lastly, the movie struck me as faintly religious which is interesting. I don't believe Cameron belongs to any religion but it struck me that Eywa very much represents an idea he would like to believe is true, even if he doesn't actually believe in it.

Anyhow, I might do a more detailed analysis after I watch Way of Water, but for now I'll end by saying Avatar remains a complicated but very well made movie, with a good message muddled somewhat by an exoticizing lens.

[tozettastone]

I'd love to know 8 for the ask meme game!

8 is "Let's make a sampler! It should not necessarily be your best fics or your worst fics, but rather your most on-brand fics. The ones that represent your style (for better or for worse). Pick up to 5."

--

Hmm... to fully encapsulate the Tozette Brand, I think this official sampler would need a soul mate fic, an OC fic, a fic that's entirely dedicated to something bloody grim, a canon divergence fic, and a fic that's kind of absurd.

The Tozette Fic Sample Pack therefore would be:

5. But Not Before They Are Dead. It's my favourite of the soulmate fics at the time of writing, and it is a good example of the type of soulmate-fic I always want to write where the artificial bond between two characters (who might not even like each other) affects their lives outside of the scope of a romance.

4. The One Where An OC Moves In With Kakuzu. I fucking love OC fics. I'm using this one because I think it's an iddy concept that combines the fun of outsider pov with the wild worldbuilding of 'What on Earth is Rain like when there's no war, anyway?' I LOVE OC fics. Grabs them.

3. the ever increasing list of things that are not going to be okay. This one is indeed bloody grim and I had a lot of fun with writing it! It's also a highly specific slightly weird AU: "19th century London serial killer and detective". Highly specific and slightly weird AUs, too, are something I really enjoy writing.

2. Dirt and Ashes, or: The One-and-a-Half Body Problem. I nearly put something else here until I remembered that this is still the fic anyone who follows this blog is most likely to have actually read. This fic is a grim, comedic canon divergence story focused pretty tightly in on an unlikely relationship, which is definitely my type of fic. It has its flaws but I still like it as long as I don't try to read it, haha.

1. This is quite hard because I've written a lot of absurd fics and how can I pick just one incredibly stupid concept? I think I will use In Which Ino and Deidara are Siblings, though, because it asks and answers absurd questions about ninja social work, but it is also a fic that also represents the type of fics I write that are pretty much zero plot and all vibes.