sen-and-mel

[sen-and-mel]

Okay, so I was doing some chores here at my house and, out of nowhere (something completely normal forr me as a fan of bnha), chapter 413 popped in my head, especifically pages 13-14, and I started rambling my ideas...until I realized something.

Izuku is going to lose OFA.

Ok, not that, which is literal text, but this:

Izuku is going to lose OFA, and while arguing with Kudou and the others vestiges, he was crying his eyes out because what mattered the most to Izuku about losing OFA, among ALL the consequences and intricate meanings which 'becoming quirkless again' could represent...It was the fact that OFA was a gift from All Might that made Izuku's heart ache in agony at that moment.

ch. 413 Here I want to note that the spanish official translation says exactly the same, so there's no contradictions.

It was not that he was going back to his past self, not that he most-likely would have to face that discrimination he went through all his childhood all over again. Not that losing his quirk could mean that he would have to stop being a hero. Not that he was gong back on being useless/worthless again...ANY OF THAT! BUT because he is 'losing the gift, meant for him, from his daddy might'...THAT'S what was causing his tears...

And from this, I see two things:

First...

IZUKU YOU BASTARD!!

HE'S AVOIDING AGAINNN THINKING OF HIMSELF!!

And, I'm sorry, but being quirkless is not goddamn easy!

It has been explained several times in the development of the plot that bnha's society is based on superhumans: people with quirks.

Being just a regular person without a quirk is a really complicated thing to deal with, and having that particularity means facing problems both on a social and psychological level.

In Aoyama's case, for example, his parents were so devastated over the fact that their son was quirkless, and therefore, he was feeling excluded and different from others, that they reached a point of despair that they made a deal with AFO and, well, you know the rest.

Another one that comes to mind is Ragdoll. Her inclusion here in the list could be debated, but what I want to distinguish about her character is that, after losing her quirk completely by AFO's doing, she had to face a huge set back in order to re-organize her new life now without a quirk. She didn't appeared in the story for many chapter until it was explained that she was still working as a hero but in the backstage, to say in a way.

And finally, Izuku is one of the clearer examples of all this (and that's why he's the protagonist).

He had to deal with bullying, rejection and exclusion (from their classmates when he was in elementary/middle school to the entire society against him). His OWN mother had her own troubles to support him over a dream that was impossible to achieve because, once more, confront villian with a broad range of hazardous quirks against a single person was basically suicidal...

On note of all this, I have to mention this scene (which I say now: I'll bring this up over and over again, a thousand times if needed). I've mention this specific situation in one of my posts before, but now I'll explain it more in depth:

ch. 72, pages 19-20

WHAT ABOUT THIS HORI!!??! HUH!!?? WHAT'S THAT?? WHAT IS THAT SUPPOSED TO MEAN???!! "BIRTH DEFECT"!?? "HE JUST COULDN'T ACCEPT THE TRUTH"?!?!

This scene has always been stuck in my head since the first time I read it because...here it explicitly shows Izuku's demeaning perspective over 'being quirkless'.

Here he's saying that "it's a defect", an imperfection, something he lacks on (because society has made it a necessity or requirement).

And even in spanish, even though it doesn't translates as 'defect', it highlights the idea of 'he didn't get what he should have received' (in this case, that his parents 'couldn't provide him of that')

In both languages it is mention the phrase where he explains that ' ' 'his friend' ' ' always kept believing EVEN when the universe was proving him wrong again and again.

My point here is: Izuku has a negative view of being quirkless (just as any other person in-universe would have) and with that, the possibilities of him having a list of low self-esteem issues, lack of confidence and self-value even as a human being are REALLY high...

but then, the fact that Izuku, after having been thrown around for the most dangerous villian of all, shirtless and crying with a bunch of ghosts inside his head...when they're telling him of getting rid of what he should have had always what makes him human...he doesn't think of him. of the problems he would have to face. of the pain he would go through again...

Instead, he thinks of 'the gift from All Might', almost as if the quirk were a toy All Might gave him and that he shouldn't lose it because All Might would feel angry or sorry for him...

MAYBE, maybe I'm going around the bush and making no sense... but FUCK IT! I WANT ANSWERS, HORI!!

I NEED THEM!! I'M LOSING MY MIND!!!

Why is he refusing himself again?? Avoiding HIS feelings but worrying about others'? Or rather, worrying about THE THING instead the consequences it causes the lost of it??!

WHY IS HE ALWAYS THINKING OF ANYTHING BUT HIM?!

Second...

Ok. Now that I've calmed myself down and said what i was meaning to say...after having been screaming internally against Izuku and all his shit...the second point I wanted to talk about was that...

With everything that has happened, a GREAT opportunity would be presenting itself to develop the dad-son bond Toshinori and Izuku have been building since the beggining.

Let me explain:

When All Might first came to town and met Izuku, their bond began to form because they were interating with one another because of OFA. The 'you're my successor' was the excuse and only connection they had to be together. And for that same reason is how their relationship exists in the first place.

So...if Izuku loses OFA. If that excuse stops to exists...the only reason for them to continue being together would be the love they have develop for one another as father-son.

If Toshinori could spell out loud to Izuku that he cares for him beyond that 'you're my successor' or 'the one I gave it my quirk'...if they could transcend that lame excuse and finally spoke to each other as human beings...

GOD, maybe I'm projecting myself here because I LOVE their relationship and i would gladly like to see Toshi legally adopting Izuku or them calling each other 'my son' and 'my dad'...but, yeah...

Those are my ideas about the new chapter.

#bnha spoilers #bnha manga spoilers #bnha 413

[sen-and-mel]

MHA didn't create some miracle way of helping others. It was never promised to be this way. And when it came to villains...

Spoilers for manga all the way to chapter 423.

The only way to get anything in life in MHA was to be born "normal" like everyone else and that way of thinking never left Izuku with Toga getting the same treatment she did before from everyone from her family to her "normal" classmates. It was Ochako who helped Toga even if just a little by lifting the weight of all the feelings that Toga had.

She couldn't save Toga the way one could save a civilian by saving them from harm. If it worked that way Dabi would've saved Toga even before Ochako could apologize for failing to notice Toga. She was so lazer focused on saving everyone else, that she was just another villain to stop, not a human.

Even if by the end of it Ochako helped Toga to deal with her grief, acceptance as it was wasn't something possible when a quirk makes you want to drink someone's blood from jealousy.

We got a bittersweet ending with Toga, in which she probably died from blood loss just like her double did in MVA. If it wasn't for Twice she would've died back then.

Giving away her blood for Ochako wasn't a redemption or a way to save Toga in the end, more as it was her being true to herself until the very end.

Just like Twice chose to stay with the League even if Hawks offered him a way to survive that battle. He refused and died protecting his friends who accepted him instead of choosing to betray them and accept Hawks' offer.

After Twice's death... It was a matter of time that more 'active' LoV members would join him as well. As sad as it is, we now can return to Izuku.

Who, after his time OFA-AFO quirk space, now wanted to help a "crying boy" he saw in Tenko just as before with Katsuki in chapter 1. He didn't forgive Tomura and didn't excuse the way he chose to solve his problems.

It didn't mean that Tomura would survive in their battle, even if Izuku didn't see killing others as a way to solve problems. He didn't understand Tomura, but he still wanted to try, and try he did.

The rest of this post was nothing more than a contextual prologue to understand that it's not the first time a hero failed to save a villain and in Twice's case we know that he died and his death was the reason Toga started thinking about her own possible death and Dabi finally revealed himself as Toya.

The goal of saving a "crying boy" never was an end-goal for Izuku in the Final arc, since helping Tomura deal with his feelings just left him hollow with a goal that clashed with Izuku's. As being a hero for villains meant destroying the world for them to help them live freely.

But that was before AFO resurfaced.

Sadly after that Tomura who was talking about making his own choices for a while now stopped doing that. Even if he still had a goal of helping villains and only villains, Tomura was almost gone. And his goals were now unreachable.

Izuku helped Nana who in turn kept Tomura from fading away entirely. In MHA there were countless situations where Izuku's help affected people by helping a different person to keep hope, All-Might being the first one and Nana being the last one at the moment.

Hollow after Izuku helped him to get rid of his hatred Tomura could do the only thing he did - accept the situation as it was.

Accepting AFO as his Sensei, accepting Stain's ideals and Overhaul's deal was the way he solved his problems. Just like Izuku had a problem of understanding something outside of his norm, Tomura was accepting too many things, which lead to his downfall after accepting AFO's quirk.

Just like Twice could've given up everything that he had for his friends so did Tomura.

With Izuku helping as much as he could let Tomura to finally rest as he wasn't really living ever since waking up in the hospital. With his body now affected by AFO's wishes instead of his own until the end.

In a way Izuku didn't succeed in his wish for Tomura to stop ever since PLF war arc. As he "kept fighting to destroy" no matter how hard Izuku tried to stop him.

The only thing he succeeded in was changing Tomura's mind about himself, instead of viewing himself as a monster he accepted that he was a human just like Izuku said. A "crying boy" who couldn't really destroy Izuku's hands in the end.

For a group of Villains who weren't supposed to get profiles of their own at the start of the series, League is slowly fading as the most memorable group that there was in MHA, getting backstories, their own Villain themed arc all the while being as human as anyone else.

As sad as their story is they were not "unlucky", they didn't need a happy false ending where they would need to change to be normal - they chose to live this way and they lived it to it's fullest.

#we cry together #bnha analysis #bnha manga spoilers

[sen-and-mel]

I think about this sometimes but I personally love that Horikoshi took the Yandere trope, split it in two, and gave one half to Izuku and Himiko.

Like it’s so fascinating how you can just SEE how purposeful Himiko was as a character in hindsight standing next to him.

Himiko is a really interesting subversion of her trope for two reasons:

She hurts people because she loves them, not for isolation or destruction of the competition (gore/blood is love to her, not necessarily a means to love someone)

She’s not possessive. Like at all.

I’ve seen that hc a few times and it always bothers me. Ochako is for sure a possessive character (we saw that with Hatsume around Izuku way back at the sports festival arc), but Himiko? Really?

You mean the girl who had a crush on a boy AND the girl who also had a crush on the same boy? Her?

You mean the girl who doesn’t hurt people who love who she loves, rather actively encouraging it in the first place? That one? Really?

Like it’s such an integral part to her subversion too. It’s what makes her such a weird and fascinating character. Possessiveness is supposed to be whats ugly about love itself, yet her love remains ugly without it. She is ugly because the fundamental ways in which she sees and feels about the world are considered “wrong”, “dangerous”, and “deviant”.

But Izuku… ohhhh Izuku…

He holds this trait like a badge melted to his skin. My man cannot escape these allegations. It’s to the point where it’s honestly a fundamental to his narrative. Izuku does not act nor feel the same without it.

Izuku holds a cutesy nickname that literally every other childhood friend of Katsuki’s has long left behind, saying his real name instead (this is honestly why I’m also uninterested in a scene where Izuku calls him “Katsuki” instead of “Kacchan”, Katsuki doesn’t represent the same things the name Izuku does, imo at least), izuku “give him back to me” midoriya, holds his dead body to his chest on a cover, freaked out on someone either hurting/offending Kacchan.. 3 times(?), keeping big boy ofa secrets…. The list goes on.

So it’s this main reason that I think their characters are just so. Fucking. Intertwined. I’m glad this has become a more common interpretation because there’s just so much that aligns between them.

Both of them call their “special people” with -chan endings, both by their first names, both deemed deviants/irrelevant by society. It’s no wonder Ochako fell in love with Izuku, just like she did toga, they’re fucking freaks. They’re interesting. They’re weird. They’re overly friendly and socially inept and a little beaten down by the world yet have too much passion to stay on the ground. They’re envious of the ones they love (Ochako of her freedom to be a normal girl, Katsuki for his raw power and harnessed skill), and I guess I just wanted to make this post because I adore how it’s all done.

I LOVE how the yandere trope is used as societal commentary here. Not necessarily as a way to make the main love interest jealous and feel she must protect the main character, nor for some kinky reason surrounding her character, but because the trope is built off of real, ugly feelings that can and do happen. That love can and is considered truly beautiful in all its forms, especially those of queer people.

So I especially love it because it isn’t just limited to Himiko, but Izuku as well. He may never hurt the ones he loves, but he would hurt for them.

A perfect narrative foil on queer and deviant forms of love. Big fan Horikoshi.

[sen-and-mel]

🎮 HEY I WANNA MAKE A GAME! 🎮

Yeah I getcha. I was once like you. Pure and naive. Great news. I AM STILL PURE AND NAIVE, GAME DEV IS FUN! But where to start?

To start, here are a couple of entry level softwares you can use! source: I just made a game called In Stars and Time and people are asking me how to start making vidy gaems. Now, without further ado:

SOFTWARES AND ENGINES FOR PEOPLE WHO DON'T KNOW HOW TO CODE!!!

Ren'py (and also a link to it if you click here do it): THE visual novel software. Comic artists, look no further ✨Pros: It's free! It's simple! It has great documentation! It has a bunch of plugins and UI stuff and assets for you to buy! It can be used even if you have LITERALLY no programming experience! (You'll just need to read the doc a bunch) You can also port your game to a BUNCH of consoles! ✨Cons: None really <3 Some games to look at: Doki Doki Literature Club, Bad End Theater, Butterfly Soup

Twine: Great for text-based games! GREAT FOR WRITERS WHO DONT WANNA DRAW!!!!!!!!! (but you can draw if you want) ✨Pros: It's free! It's simple! It's versatile! It has great documentation! It can be used even if you have LITERALLY no programming experience! (You'll just need to read the doc a bunch) ✨Cons: You can add pictures, but it's a pain. Some games to look at: The Uncle Who Works For Nintendo, Queers In love At The End of The World, Escape Velocity

Bitsy: Little topdown games! ✨Pros: It's free! It's simple! It's (somewhat) intuitive! It has great documentation! It can be used even if you have LITERALLY no programming experience! You can make everything in it, from text to sprites to code! Those games sure are small! ✨Cons: Those games sure are small. This is to make THE simplest game. Barely any animation for your sprites, can barely fit a line of text in there. But honestly, the restrictions are refreshing! Some games to look at: honestly I haven't played that many bitsy games because i am a fake gamer. The picture above is from Under A Star Called Sun though and that looks so pretty

RPGMaker: To make RPGs! LIKE ME!!!!! NOTE: I recommend getting the latest version if you can, but all have their pros and cons. You can get a better idea by looking at this post. ✨Pros: Literally everything you need to make an RPG. Has a tutorial inside the software itself that will teach you the basics. Pretty simple to understand, even if you have no coding experience! Also I made a post helping you out with RPGMaker right here! ✨Cons: Some stuff can be hard to figure out. Also, the latest version is expensive. Get it on sale! Some games to look at: Ib, Hylics, In Stars and Time (hehe. I made it)

engine.lol: collage worlds! it is relatively new so I don't know much about it, but it seems fascinating. picture is from Garden! NOTE: There's a bunch of smaller engines to find out there. Just yesterday I found out there's an Idle Game Maker made by the Cookie Clicker creator. Isn't life wonderful?

✨more advice under the cut. this is Long ok✨

ENGINES I KNOW NOTHING ABOUT AND THEY SEEM HARD BUT ALSO GIVE IT A TRY I GUESS!!!! :

Unity and Unreal: I don't know anything about those! That looks hard to learn! But indie devs use them! It seems expensive! Follow your dreams though! Don't ask me how!

GameMaker: Wuh I just don't know anything about it either! I just know it's now free if your game is non-commercial (aka, you're not selling it), and Undertale was made on it! It seems good! You probably need some coding experience though!!!

Godot: Man I know even less about this one. Heard good things though!

BUNCHA RANDOM ADVICE!!!!

-Make something small first! Try making simple: a character is in a room, and exits the room. The character can look around, decide to take an item with them, can leave, and maybe the door is locked and you have to find the key. Figuring out how to code something like that, whether it is as a fully text-based game or as an RPGMaker map, should be a good start to figure out how your software of choice works!

-After that, if you have an idea, try first to make the simplest version of that idea. For my timeloop RPG, my simplest version was two rooms: first room you can walk in, second room with the King, where a cutscene automatically plays and the battle starts, you immediately die, and loop back to the first room, with the text from this point on reflecting this change. I think I also added a loop counter. This helped me figure out the most important thing: Can This Game Be Made? After that, the rest is just fun stuff. So if you want to make a dating sim, try and figure out how to add choices, and how to have affection points go up and down depending on your choices! If you want to make a platformer, figure out how to make your character move and jump and how to create a simple level! If you just want to make a kinetic visual novel with no choices, figure out how to add text, and how to add portraits! You'll be surprised at how powerful you'll feel after having figured even those simple things out.

-If you have a programming problem or just get confused, never underestimate the power of asking Google! You most likely won't be the only person asking this question, and you will learn some useful tips! If you are powerful enough, you can even… Ask people??? On forums??? Not me though.

-Yeah I know you probably want to make Your Big Idea RIGHT NOW but please. Make a smaller prototype first. You need to get that experience. Trust me.

-If you are not a womanthing of many skills like me, you might realize you need help. Maybe you need an artist, or a programmer. So! Game jams on itch.io are a great way to get to work and meet other game devs that have different strengths! Or ask around! Maybe your artist friend secretly always wanted to draw for a game. Ask! Collaborate! Have fun!!!

I hope that was useful! If it was. Maybe. You'd like to buy me a coffee. Or maybe you could check out my comics and games. Or just my new critically acclaimed game In Stars and Time. If you want. Ok bye

#reference #gamedev #indie dev #game dev #awesome advice #thank you! #also love ur game <3 <3 <3

[sen-and-mel]

Your analysis of Ochako/Toga was great, I loved reading it! That said, I'm a Deku fan and my brain is now stuck on the parts where you mentioned your thoughts on Shigaraki and Deku. Did you already write about Deku's act and I missed it, or are you going to write about it? Also, I loved the comparisons you made between how Deku approaches Shigaraki and how Uraraka approaches Toga. Shoto takes Dabi as he is, mostly wondering why he ended up the way he did. Uraraka also does this. Deku quite pointedly is only able to connect to Tenko, not Shigaraki. Or rather, I get the sense that he can connect to Shigaraki but just doesn't want to.

There's something delicious about the narrative hinting at a sweet character like Deku having darker feelings churning underneath. I was wondering if I was simply projecting though, since I love dynamics like that. Your post about him and Shigaraki made me remember this again though. Whereas Uraraka and Shoto don't really blame the villains much and simply want to save them. Considering Shigaraki as a character exists to hold society accountable to itself, it's oddly fitting that Shigaraki's heroic counterpart would have a much harder time wanting to help him. To me, it only hints more towards the fact that he and Izuku are similar underneath in some key ways. I'm swinging right now between thinking that I'm simply projecting my own desires onto the characters, and feeling like that there is evidence that suggests that Deku does have more "darkness" inside of himself. Darkness that he's ashamed of and hides. He's been well established as a character who hates burdening others with "selfish" emotions, and he's also a person who becomes very avoidant when dealing with things he hates. So, it's easy for me to see the parts of him that could conceivably be similar to Shigaraki while also acknowledging that his actions are almost always unfailingly kind. Of course, since he's so self sacrificing and seems to hate the parts of himself that he views as selfish, it makes sense that he would only be able to accept Tenko Shimura. He gives me the sense of having a very particular idea in his head of what a hero is, and struggling with the fact that his natural personality does not match that ideal. His ideal hero is someone like Mirio. Unfailingly and unfalteringly kind. The story seems to lean towards the idea that he loves being Deku, but hates being simply Izuku. Whenever it shows his similarities to All Might, that feeling gets stronger. Toshinori was established by Horikoshi as someone who loves being All Might, but hates being Yagi. It just makes sense therefore that Izuku likes Tenko, while disliking Shigaraki. Sorry for the long post, I'm way too chatty XD.

Thanks for the compliment! Don’t worry, currently his act hasn’t been done, for the characters I’m trying to go from the least important to the eyes of the public to the main ones, partly because otherwise ppl would probably ignore these for the shake of the protagonist(s); that said, the order is also influenced by a whole bigger picture, this serves as a way of explaining little and little parts that will make it easier to understand why I say some stuff about both the characters and the plot (I also give really, really small hints of future parts in the middle of them, and no, it’s not the obvious ones sksksk). I want it to make each act enjoyable on their own, but also being the narration of the whole hypothesis, non “skipable” if you want to get it (imagine if I don’t explain anything about Toga yet claimed she was really really important, many ppl would be confused by this!).

So yeah, Bakugo is going first, some Director’s Cut too, the comparison with Ochako and Toga and probably in the middle I’ll explain the OFA act as it doesn’t depend that much on the others. I have a pinned post with all of my metas and a specific one for the Queer Narrative Hypothesis Series, just in case you want a more visual representation of this.

(I wanted to include Todoroki in the series but I didn’t know how because I don’t think I could make multiple parts of an act about him, maybe one and a half posts, so maybe a meta about the whole concept of saving will be made and include him and others too).

I completely agree, Deku just doesn’t like to think about himself in general but him as an aggressive, possessive person? One that has anger issues? He can’t do that. Even tho he admires and respects that person that has always been like that… if it’s himself, he can’t accept it, specially with OFA in his hands. He believes still the best option is trying to act in a more typical hero, traditional one, basically All Might. Many times he loses control and becomes more loud and aggressive, but the times he completely loses it is when Katsuki is involved (Im not even making this up lmao).

What’s interesting about Katsuki’s death is that… it happened, for external viewers, in such a traditionally heroic way. “Rest in Peace young hero, he sacrificed himself to save the rest, what a true hero society has lost”. Even tho we know he wasn’t trying to do that specifically, the rest can see it that way… and if Deku finds out the guy that has lived his whole life loud, died when doing what he wanted to do, his ideals, what he has always idolized… if he actually died permanently, I wouldn’t be surprised if Izuku just broke down and attacked everything and everyone, feeling rage against the heroes that were supposed to protect him and once again didn’t. But also self-hate and in general conflicted feelings, you know? The person with who he gets to show those “dark, selfish sides”, is now gone. Gone because of him, of the villain he dared to say “I want to save his kid version”, of the heroes that have never, ever, saved him in the amount of times he could have lost him. Forever. Gone. I don’t think he would be held back by the shame when that is the situation.

I believe Izuku in general prefers to create a false, more simple idea of who other people are, not because he is a bad person, but because is safer; he is used to analyze fights and quirks, not humans. So even tho he creates connections with friends and others, with villains… they are the enemy. And that’s all they are. This isn’t his fault tho as hero society taught this exact thing to all of them, but Ochako and Shoto see beyond that, see people. In the community we really need to check how idolized Deku is, considered a sweet little cinnamon roll that can’t hurt a fly, when he has felt anger since the start (that first chapter after Katsuki told him to jump off the roof? Yeah, he was angry at katsuki for getting in trouble that way)

I would love to see the story from Katsuki’s point of view more, because the times we do (like moments before he jumped and got stabbed at the first part of the war) we see a scary Izuku, out of his mind, screaming and basically killing himself when trying or the save or attack a villain. I don’t even mean his “normal” aggressive self, is… terrifying. I understand perfectly why Katsuki still felt like he didn’t want to be too close with him… its overwhelmingly scary.

I also think Deku sees things in a very binary way, just black and white, good and evil, accept and reject… He doesn’t quite get, or want to admit to himself, that things can be more complicated. Like with the villain Gentle, after that you would expect the normal path would be question society but he just… doesn’t. As if “Gentle is a good man who had bad luck, I can’t see him as a villain”. He can admit exceptions like this one, but not the option of being both a villain and deserving of protection or rights.

I’m sorry if I always make it shippy hori didn’t give another choice, but the fact Katsuki is the one that he loses that shame with, and is the one that is calling him Izuku, seeing thru that “it’s okay you can still call me Deku” and his whole soul. Could this be another reason why he is being so weirdly distant with him in every possible way? Because he just knows he will show those dark secrets he hates so much in him?

… maybe he’ll end up accepting those sides? Maybe Toga’s explanation, maybe Katsuki talking to him… maybe if he starts seeing those as something to cherish just as much as he cherish Katsuki, relating it to him…? I know it’s not the healthiest option but hey, give him time, its not like he is going to become a whole new person in 30 minutes.

And no worries lol I also wrote a lot. Because most people don’t care for the asks here, the ppl that see this is getting some info about his act too! Enjoy~!

[sen-and-mel]

“I AM SO FUCKING SICK OF THE NOTION THAT ONLY THOSE WHO DON’T WANT POWER ARE DESERVING OF IT. Occasionally it works out, fine, but someone who doesn’t have a passion for leadership is going to do very poorly at the top. Because that shit’s hard, it is ungodly hard, and only if you’re truly committed to it are you going to be any good at it. Someone who just accidents their way into it is going to drop the ball, not to mention the fact that they haven’t prepared themselves for the task, so they’re untrained and untried. Ambition is not a bad thing. Ambition for power is not a bad thing. Being ruthless and cutthroat and amoral, sure, but not ambitious. And yet again and again and again and again and again I see books where only the person who doesn’t want the job is considered good enough to have it. And I think it’s born out of this idea that ambition is evil, but at the same time they need to be in charge for the story to work, so we end up with this fucking trope that is literally the opposite of sense-making.”

— Reading With a Vengeance (via the-right-writing)

#characters #quote #tips #writings

[sen-and-mel]

Too many people are willfully misunderstanding why artists are protesting AI art right now.

All they hear is "Artists are mad at fun new tool and scared it will replace them, so they're trying to take it away from us!!"

Artists are not protesting the tool itself. Many even like the concept of the AI tools, believe it or not.

We are protesting that it takes and uses our work without our consent and without any compensation, all while the companies behind the tool are making loads of money off this practice.

We're fighting for regulation of the tool. Not only does it scrape work created by artists into it's database without the artist's permission, private medical photos have also been found in these datasets. None of that is ok.

From the start this tool should have only been fed images in the public domain, and any artist work fed to it should have come from artists who have consented to it and who were then also compensated whenever their work was used by the AI tool. There's also other issues like:

Sites like ArtStation and DeviantArt refusing to place AI in it's own category to separate it from human made art. Just like traditional and digital art get separate categories, so should AI generated art. (Also some are trying to hide when they generated something from AI and try to pass it off as done by their own hand??? If you believe it's 'just another tool,' why are you trying to hide it???);

How DA tried to pull a fast one and first made AI scraping an opt-out function and said that dead artists work would be scraped because they weren't alive to tell them no;

How the companies behind the tools are knowingly making money off the AI scraping artist work without artist consent;

People are selling AI art with no regard that their generated image likely contains work that another artist created;

Etc.

"But humans take inspiration from other artists all the time! The AI is just doing the same thing!"

First off, it's not. And I don't even mean that in a "AI art is soulless and can never be the same as Human Art!" way or anything.

I just mean these "AI" tools aren't 'true AI' like how you're thinking. They're no Hal3000 that actually make decisions on their own. They're algorithms programed by humans to search the acquired database and photomash together a product based on a prompt. They're not actually becoming 'inspired' by anything. (And it's not insulting the tool to say this either!)

And that's not even the point, but let's pretend for a just minute that what AI Art programs do is the same as a human taking inspiration- Even humans are not allowed to take too much of another artists idea/work with the intent to profit without getting in trouble. Even if that 'profit' is just internet clicks, people very much still do get mad at other humans for copying another artist's work and trying to pass it off as their own.

And that is what's happening with a lot of generated art. It will spit out pieces very similar or nearly identical to another artist's work and will often even include artist's signatures or watermarks in the product. Because it just photomashes, essentially. (Again, not a dig!)

And I'm not knocking photomashing, it is used in the industry. And I bet most artists are actually fine with the concept of a photomashing tool. However, even when humans in the industry use photomashing, they have to use their own photos, public domain photos, or have permission of the owner to use the photos they intend to photomash with. And we sure as hell are not allowed to use someone's private medical photos in our work either.

We're only asking that the work generated by AI Art programs follow these same standards. Again, we're only fighting for regulation, not to take this "new fun tool" from you.

But unfortunately that's all some who are already enamored with the idea of AI Art are willing to hear from our arguments.

It's easier to just believe that artists are simply "afraid of change" or "afraid of being obsolete" and are trying to rain on your fun than to look at our arguments and concede that, "Hey, maybe this tool was implemented in a bad way. Maybe artists do deserve the basic respect of being allowed to consent to their work being used to train AI, and to being compensated by the company behind the tool if their work is used. Maybe we should look into more ethical ways of implementing this new tool."

No one seems to realize that artists would not be fighting this tool if it was done right from the start and didn't just outright take our work to train the AI without our permission. Hell, artists release stuff to help teach/'train' other human artists all the time! We release full tutorials, stock images, even post finished art for people to use for free sometimes!

The difference is that when we do, we consented to do so. It wasn't just ripped from our hands by people who felt entitled to our labor for their own gain.

We're not trying to take away your fun new tools! We're only asking that your new tool does not come at the expense of abusing us!

I really don't think that's a hard ask.

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For a major reveal, the order of the reveal can matter almost as much as the content of it.

Consider the reveal that the main character previously killed a bad person. That reveal can happen all at once in the story, but consider what happens if you stretch it out throughout the story, giving the reader one piece of information at a time. What information goes first can change the entire dynamic of the story.

Consider these options:

they are dead and I killed them - they were bad

We've started with the knowledge that the person is dead and the main character killed them, and so the tension surrounds the question of why. The reader doesn't know yet that the person was bad, only that the main character killed them, and so this will likely shape their view of the main character.

they are dead - I killed them - they were bad

Breaking up the first component into two parts changes the tension--first, all we know is that the person is dead. This can be broken out even further if you want (they are dead - they were killed - I killed them) but the central tension is the same: how did they die, and by whose hand.

they were bad - they are dead and I killed them

In this case, we start with knowing that they were bad, which removes a lot of the tension--but at the start we don't know they are dad, so they remain a threat. Maybe they're someone the main character still fears, even if they're dead.

they were bad - they are dead - I killed them

Again, breaking out the reveal that the person is dead from who killed them provides an extra level of suspense--but in this case the reveal that the character killed them is likely one that brings more positive reader feelings to the character than in the earlier instances. It may also be the answer to a secret that other characters were trying to find out during the story.

they are dead - they were bad - I killed them

The central arc of this reveal becomes more about the character (no pun intended) of the person who is dead--especially if that first part also reveals that they were killed. The question that the arc of the reveal answer is why are they dead, and also how should the reader feel about their death, a feeling that will likely change once it's revealed that they were bad.

This is just one example of how the order of the reveal matters, but this exercise can work for any major reveal in a story. What are the central components of the reveal? How does the order in which they are shown or told to the reader change the tension and central questions of the story?

#tension #conflict #tutorial #tips

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Character Flaws

Yet, what exactly is a character flaw?  "A character flaw is a limitation, imperfection, problem, phobia, or deficiency present in a character that may be otherwise very functional. The flaw can be a problem that directly affects the character’s actions and abilities, such as a violent temper. Alternatively, it can be a simple foible or personality defect, which affects the character’s motives and social interactions.“ (Wikipedia, Character Flaws)

List of flaws under the cut.

Seguir leyendo

#writing

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Can’t believe im adult now. Sometimes I feel like a teletubbie with a credit card.

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Your characters have problems.

I don’t mean flaws in character design, even though they possibly do. I mean the problems your characters SHOULD have. The problems they face in your story ie. villains, conflict, war, homophobic parents, not having a date to the big dance. Y’know…like a plot.

Here are 3 ways to improve your plot

1. Your Characters Need to Make Decisions

This may sound obvious, but it isn’t always. The Problem™ isn’t just something your character has to go through that sucks—they should be faced with options, and have to make Active Decisions™ that affect the outcome of the story. This gives your characters agency—if they don’t have agency, if they don’t make decisions, your characters will be read as passive. Passive characters aren’t interesting.

2. These Choices Need To Be Hard

Give your characters inner conflict.

Hard, tough decisions to make. How to face their big problem. In figuring out what options your characters will choose, remember their

Motivations

Background

They way they were raised

Moral/Ethical/Spiritual beliefs

Fears

Loyalties

3. Figure Out The Stakes

Based on what kind of story you have, the stakes for your protagonist are going to be different.

SciFi novel about how the world is going to get obliterated by an evil force in 2 days? High stakes.

Romance novella about 29-year old Tequila Sheila who can’t seem to find a date to her brother’s wedding? Lower stakes.

And there’s nothing wrong with having higher or lower stakes—but do think about where your stakes should be for your particular story. Many stories don’t have high enough stakes for readers to be captivated; these stories need to be reconfigured, after realizing what exactly is at stake and to what degree. Understanding what your stakes are can help you figure out what kind of reading experience your book will be.

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Wizards and Sorcerers are very different schools of magic. One arises as an accident of birth, a heritage; the other, from a lifetime of training and study. The Ministry has a grudging respect for these muggle magic users, but the Sorcerer Supreme is not well-received today in Diagon Alley.

#writing propmt

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You thought you were being abducted by aliens for bizarre medical experiments. Instead it turns into a therapy session as the alien researcher who has been observing you for months asks if you are really ok.

#writing propmt

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As a healer, you are often mocked for being pacifistic. However, you have a secret. When you heal the wounds of another, their injuries are stored by your magic, to be inflicted on another at your leisure. You have never used this ability before, but desperate times call for desperate measures.

#writing propmt

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“May you have a life of safety and peace”, said the witch, cursing the bloodthirsty warrior.

#eindred and the witch #art

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The Witch Who Spoke to the Wind

Sequel to Eindred and the Witch

In which Severin, the golden eyed witch, learns that his greatest enemy and truest love is fated to kill him.

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Dealing in prophecies is a dubious work. Anyone who knows anything will tell you as much.

“Think of all of time as a grand tapestry,” his great-grandmother had said, elbow deep in scalding water. Her hands were tomato red, and Severin watched with wide golden eyes as she kneaded and stretched pale curds in the basin. “You might be so privileged to understand a single weave, but unless you go following all surrounding threads, and the threads around those threads, and so on - which, mind you, no human can do - you’ll never understand the picture.”

Severin, who was ten years old and had never seen a grand tapestry, looked at the cheese in the basin and asked if his great-grandmother could make the analogy about that instead.

“No,” she replied. “Time is a tapestry. Cheese is just cheese.”

And that was that.

By fifteen, Severin who was all arms, legs, and untamable black hair, decided he hated prophecies more than anything in the world. He occupied himself instead with long walks atop the white bluffs well beyond his family’s home. Outside, he could look at birds, and talk to the wind, and not think about the terrible prophecy which followed him like a shadow.

His second eldest sister had revealed it - accidentally, of course. Severin lived in a warm and bustling house with his great-grandmother, grandmother, mother, two aunts, and three sisters. All of whom were generously gifted in the art of foretelling (a messy business, each would say if asked), and every one of them had seen Severin’s same bleak thread.

He would die. Willingly stabbed through the heart by his greatest enemy and truest love.

Willingly. That was the worst part, he thought.

Severin, who had no talent in the way of prophecies, but plenty of talent in the realm of wind and sky, marched along the well-worn trail, static sparking around his fingertips as the brackish sea breeze nipped consolingly at his face and hair.

I will protect you if you ask me to, it blustered, and Severin was comforted.

He didn’t care who this foretold stranger was. When this enemy-lover appeared, Severin would ask the wind to pick them up and take them far, far away. Far enough that they could never harm him. The wind whistled in agreement. And so it was settled.

Seguir leyendo

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