#but in general i'm just not interested in those stories when you could be exploring literally any other portal fantasy trope | Explore Tumblr Posts and Blogs

amberautumnfaebrooke · 10 months

Text

i think i could design a better death arena for children than those hunger games amateurs.

the whole premise of the games is all pageantry. every year you get a crop of 24 candidates around whom the entire state media apparatus dedicates an entire year to building celebrity narratives. this candidate is the younger sibling of last year's winner - these candidates are young lovers forced to compete - he's smart - she's fast - root for them, care about them, watch them, form opinions on them, bet on them. and then they stick them all in an arena to kill each other, which is a great entertainment premise, except that they make the arenas themselves really boring and generic. ooo, they're in...a forest.

it's not even an interestingly designed forest. imagine if the game designers treated their arena like an actual video game designer treats level design. discrete zones with multiple paths between each room, creative use of lighting to guide players to points of interest, points of interest scattered across the map, discoverable resources hidden to encourage exploration. instead they just have a generic outdoors location and if you get too close to the edge they throw a random fireball at you.

the 75th games are especially bad about this. the arena is laid out radially into 12 wedges, and each hour one wedge becomes especially dangerous in a 12-hour loop. as a mechanic, this is genius. it forces everyone to keep moving, making "survival by hiding" an engaging and tense viewing experience instead of someone sitting in a tree for three days. plus, it encourages players to return to the center of the arena, where travel time between wedges is short, which creates a high-value zone for players to regularly return to and conflict over. in other words, it's a mechanic which incentives players to adopt dramatic, dynamic, exciting behaviors which are entertaining to watch (not to mention it communicates geography to the audience well). but it only incentives those behaviors if the players understand what's happening, and they go out of their way not to tell the players anything! when they figure out what's going on, the showrunners spin the arena to disorient the players, like they're intentionally trying to get them to just. randomly wander the jungle instead.

this isn't even to mention how often they create undramatic, boring deaths. they plant poison berries around the arena. they supply no fresh water and no way to get it. they roll poison clouds over sleeping victims. these happen to work out in the books themselves but you have to imagine that extremely often these just result in players dying unexciting deaths.

the cardinal sin though, of course, is that nothing is done to personalize the arena for the crop of contestants that year. if i'm designing the 75th hunger games and two of my most beloved contestants famously had to cancel their wedding because of a return to the games, i would OBVIOUSLY give them a trail of, i don't know, wild game which conveniently leads directly past a well defended wedding chapel. will they hole up there for a while? hold a mock ceremony for themselves? do or receive ironic violence here? stare wistfully and move on? any of it is better television than getting attacked by generic attack monkeys. you should have a dozen of these things on the map for every single candidate. but the game makers are more interested in doing the same thing every other game has done than in telling a compelling story.

it makes me second guess enjoying the children's murder arenas at all.

#the hunger games #game design

9K notes · View notes

writingwithcolor · 8 months

Text

Judaism, Angels, and Monstrosity

@neapolitangirl asked:

I'm writing a story about the angel Muriel traveling through a world inspired by American folklore (Ex. The Bell Witch, Fearsome Critters, etc) while hunting demons. I wanted to draw inspiration from the legend that says Muriel and Abaddon are one and the same because I thought it was interesting. However, I also know that Abaddon is important to Jewish cosmology and wanted to avoid any unfortunate implications. Muriel is very skittish and kind of a coward, but turns into the more violent and vengeful Abaddon in the presence of demons. Appearance-wise both Muriel and Abaddon are tall and skinny, but Muriel is more like an owly-human while Abaddon is a spiky skeletal being. Would this be connecting Judaism to monstrosity? Also, is there anything else I should try to avoid?

So…angelology, the whole idea of angels with names and personalities and individual jobs, is just…not something the average Jewish person thinks or cares about, even the ones who know a little about it. Not that it’s bad, it’s just not something that is prominent enough that it would have tropes attached that we might be able to warn you against.

That said, we’re posting on the Niche Scholarship and Special Interest website, so if there’s a reader who happens to have a lot of knowledge and feelings about Jewish angelology we would welcome the contribution and specialized expertise.

As it stands, my instinct is to give these more general considerations:

Balancing Jewish and Christian Elements

To what degree are you trying to tell a Jewish story, a Christian story that does not harm Jewish readers, or a story strongly influenced by Christian ideas about the heavens in a way that does not harm Jewish readers? How does deciding where you fall among those distinctions affect how you construct your story, and how you portray your angels?

Jewish Concept of God and Angelic Appearances

To Jews, God Godself does not have a physical body or visible appearance. If you’re describing the appearance of God as you’re navigating your angel-centering narrative, you’re squarely outside the territory of inclusivity toward Jewish readers. That’s okay, if you’re clear with readers that you’re not telling a Jewish story. It’s not okay if you’re trying to conflate Jewish and Christian ideas into a single narrative when they are often incompatible.

Angelic Appearances and Jewish Scripture

Angels might have appearances, and some descriptions of some types of angels in some Jewish scriptures have body parts of various animals. I haven’t the foggiest clue if it matters to anyone what appearances belong to which angels, so if it matters to someone reading this I hope they will speak up.

Are angels Jewish? This is a subject that could make for a fun discussion among Jewish people as a way of exploring the nature of Jewishness, but in your narrative you will have to think this through in your own way. If your angels engage in Jewish practices, then what does that look like and why, and if they don’t, why don’t they? The answer to that may of course be “Because I’m not actually telling a Jewish story.”

Christian Themes and Sensitivity to Jewish Culture

It’s okay to not be telling a Jewish story. But in that case keep in mind what demonstrations of Jewishness you include in a Christian story.

Especially, if you’re depicting a divine Jesus, or a Jesus character with any type of more-than-human powers or ancestry, or you are including any reference to the idea that Christianity might be in any way objectively correct, then you must tread EXTREMELY CAREFULLY with including any depiction of Jewish practice in your work, as the line where depiction turns to appropriation is in that case extremely near.

In all things, try and avoid depicting Jewish humans and any character who might be Jewish or be seen as Jewish in ways that are otherwise harmful: we’ve often talked about tropes around greed, sneakiness, power-grabbing, gender and sexual dynamics, and other tropes that apply to portrayals of Jewish characters. If your angels are Jewish, or Jew-ish in flavor, that goes for them as well.

Again, I know absolutely zero about Muriel and Abbadon and am not very interested in learning more as their lore has zero bearing on my Jewish practice in any way, and that’s a somewhat important point to me to be making because…2J3O. Two Jews, three opinions. So again, if a reader does in fact have knowledge and opinions about the specific angels themselves, please speak up.

–Meir

#Judaism #Christianity #Angels #supernatural beings #Jewish culture #asks

562 notes · View notes

thankskenpenders · 9 months

Text

Sonic Prime: "Season 2"

Eight more episodes of Sonic Prime are out! They're labeled as "season 2" despite just being the next eight episodes of the first (and presumably only) season, allowing Netflix to market it as multiple seasons without having to give the cast and crew raises. They love doing that shit to their original cartoons. Ugh.

Anyway! Last time, I gave the show some leeway because it was still finding its legs. This time, though? We're now two thirds of the way through the series, and sadly, I think it's time to accept the truth:

While there are parts I like, a lot of this show... kinda sucks?

This multiverse sucks and Rouge was robbed

Previously, I noted the pattern of each universe spotlighting a different friend of Sonic's (Tails in New Yolk City, Amy in the jungle world, Knuckles in the pirate world) and predicted that, hopefully, Rouge would get her time to shine next. And with 16 episodes left, surely there's time to explore new worlds that are more interesting than the jungle and pirate worlds. Those were just the warm up act. Right?

...Right?

Nope! That's it! There are no more worlds.

This multiverse show where anything is possible really is just about another Eggman-controlled dystopia world, a jungle world, and a pirate world. That's all they came up with! Just those three, and two dead worlds that don't really count - one a featureless wasteland, the other a ghostly echo of the original Green Hill dubbed "Ghost Hill." (Sonic's friends appear here as holograms stuck repeating a single line each. It gets old immediately.)

The jungle and pirate worlds and their inhabitants being so overwhelmingly generic becomes unforgivable the moment you realize this is all we're gonna get. It just leaves me wishing they'd thrown this whole concept out and finally made a normal Sonic cartoon with no twist in its premise. A few of the new takes here are good, particularly Nine as a darker riff on Tails, but so many of them don't feel anything like the fun characters they're supposed to be. They're stock cartoon characters wearing the Sonic casts' skins.

I'll admit my bias is showing, but god, Rouge is REALLY done dirty by this setup. The normal Rouge we see in the first episode is so fun for how briefly she appears, but then in all the other worlds she's reduced to a generic action girl with zero personality. What's her purpose, exactly, when every AU version of Amy is ALSO a straightforward action girl? It drives me absolutely insane that they gave us a PIRATE ROUGE and she doesn't care about treasure. They do nothing with this! How!!!!!!!! She's just never gonna get her turn. It's so obvious that Rouge is only in this show so that they can have another girl, but you could swap her out with another character like Blaze and it'd make no difference.

Speaking of the pirates, though...

The way things play out in the pirate world is so stupid

Previously, with the Paradox Prism shard within reach, Captain Dread Knux was regressing into his old obsessive personality. I'm fine with this. Sonic and Dread both want the shard, they're gonna fight over it. Obvious stuff. But the actual impact it has on the story is maybe the stupidest bit of writing in this entire show so far.

Basically, while fighting a couple of the Eggmen and their robots at sea, Sonic has to briefly run over to the enemy ship to fight them and grab the Paradox Prism shard while Dread and his crew remain back on their ship. Dread goes "Oh my god, look! Sonic's abandoning us! Traitor!" While Sonic is... like 200 feet away. Still in clear view. Fighting the guys who are trying to kill them. Retrieving Dread's beloved treasure for him.

And yet, Dread's crew buys this! And when Sonic runs right back over with the shard in hand, they're all like "HOW DARE YOU BETRAY US" and turn on him.

It's just. What?!

This isn't a huge part of the "season," but I highlight it as maybe the worst moment of the show's character writing. I'm reminded of Thorn Rose's backstory from last time, where she was depicted as suddenly snapping one day when she saw her friends pick one too many berries in the jungle. Sometimes a character just needs to pivot for the story to work, and they aren't really interested in getting there smoothly.

The Chaos Council fucking sucks

I tried so hard to like these guys, but they drag the show down so much.

The choice to have a team of five different Eggmen really just means that Eggman has been split into five one-note characters. Four of them revolve entirely around the most trite, predictable, boomer-ass jokes based on their ages. The teenage one is whiny and just wants to play video games. The young adult one is a vegan hipster who does yoga. The old one is cranky about all the whippersnappers and has a bad back. The baby is a baby. These are jokes that would've been tired if this show aired 20 years ago.

The odd man out is Mister Doctor Eggman, the middle-aged one with a toupee who's the stand-in for regular Eggman. But even he kinda sucks. The other four all being one-note joke characters means that he has to be the straight man of the group, so he's just very dry and serious and plot-focused without any of Eggman's fun eccentricities. He's neither particularly funny nor particularly sinister, which is just about the worst place for an Eggman to be.

He doesn't even have any incompetent robot lackeys to bounce off of, because the unfunny alternate age Eggmen fill the quota for bumbling secondary villains. But also, like... Orbot and Cubot are in this show! They were in the first episode! Where are they? God, I never thought I'd miss them so much...

But, okay. It's not ALL bad.

The highlights

There's a recurring theme here, which is that the best episodes are the ones where Sonic is pitted against a foe who can match his speed and they just let the animation carry it.

The first of the new episodes is mostly about Sonic fighting Shadow, and BOY is their fight fun to watch. Said fight happens because Shadow blames Sonic for shattering the universe and doesn't trust him to fix things. Shadow wants to restore their world, but he refuses to see the various AU counterparts as the same people Sonic once knew, and he doesn't really care what happens to them. Ultimately, though, he begrudgingly accepts that Sonic really is the only one who can hop between dimensions for Plot Reasons, and therefore lets him go try to do things the nice way. He sadly spends most of his time waiting around in the void between worlds, but in the last episode of the batch he and Sonic get to team up against the Chaos Council's forces and it's very cool.

As far as recent interpretations of Shadow go, this is a good one. He's a great foil for Sonic, which just makes me wish he could travel with Sonic to the different worlds. He's cynical and overly pragmatic in his approach, but his points aren't entirely wrong. His anger feels justified. They even let him have some snark! And Ian Hanlin is really great in the role - definitely a contender for Shadow's best voice ever. He just sounds so natural.

The other speedster Sonic fights is Chaos Sonic, the Chaos Council's take on Metal.

He can talk! Deven is basically doing a Jaleel impersonation for him? People are very mixed on this.

The idea behind Chaos Sonic is to turn Sonic's obnoxious smack talk and zingers back around on him, and I don't hate this idea, even if a lot of fans find him annoying compared to Metal Sonic. (Some comparisons have been made to Archie's Shard, but I assume this is a coincidence.) Like the rest of the script, his dialogue certainly isn't anything to write home about, but the fights he gets into with Sonic and co. are so damn fun and dynamic that I have to like him. I also like how expressive his eyes are on his dome screen face, and the animators have a ton of fun with the fact that his torso and head can rotate 360 degrees.

Unfortunately, he's destroyed at the end of his debut episode. I'm praying he gets rebuilt, because this show desperately needs better villains than the Chaos Council.

Again, the animation in Prime is maybe the best animation in any official Sonic media, period. I just wished I liked the characters and worlds enough to be invested in more of the fights. It's hard to care about the dozenth group battle against the generic Eggforcer bots and the baby in his Fisher-Price mech.

The note we end on

After fighting a giant glowing replica of the normal Eggman for... some reason? Episode 16 ends with Sonic and Nine getting into an argument over what to do with the Paradox Prism shards. Sonic wants to restore his original world, but Nine still wants to create a new, better world out of the one that's just an empty wasteland, believing he doesn't belong anywhere else. Nine angrily runs off with the shards, and Sonic is distraught as he realizes that Shadow was seemingly right about how he shouldn't trust Nine.

I kind of like this conflict, mostly because Nine is the standout character of this show. But my main problem is that we don't know what will happen when everything is fixed.

The logical assumption is that the alternate worlds will just... stop existing, right? That must be the idea if Sonic and Nine are treating restoring the original world and creating a new one in the Shatterverse as mutually exclusive options, right? If the Shatterverse disappears, will Nine and the rest all stop existing, too? The show seems unwilling to discuss this possibility, so I'm left not really knowing what the stakes are in this conflict. Nine becomes a whole lot more sympathetic and Sonic becomes a whole lot more monstrous if restoring the world will erase most of this show's cast from existence, but the thought that this could even happen doesn't seem to have crossed Sonic's mind. Sonic seems to want to take his AU friends back to the regular Green Hill - he at least wants to introduce Nine to his normal friends - but like... he can't really do that, can he? They're not gonna have four Tailses running around.

I don't really know what direction this is all headed in. I guess we just have to keep watching, even if I'm past the point of accepting that this show is mostly very mid.

It's just frustrating that everyone else working on this show is clearly giving it their all while the writers at Man of Action phone it in for so much of its runtime. The scripts drag this show down so, so hard. There are moments and episodes I like, but you have to slog through so much mediocrity to get there.

#tkp post #other media

600 notes · View notes

writingquestionsanswered · 5 months

Text

Guide: Inspiration, Motivation, and Passion

Anonymous asked: I have time to write and TONS of ideas in my notes. I want them to eventually be final drafts... but in this moment I just don't care about them. Does that make sense? I wish I did, but I'm disconnected. Is normal? Do all writers/authors struggle to connect with and feel passion for their stories/characters, but they write anyway and it comes eventually? Or do they not write unless those feelings are in place already? Forget making readers care about my protagonist. How do I care about them? Could my chance to write already be over? Also Audhd btw :) Thank you for all your advice ❤️

(Ask edited for length)

Inspiration, motivation, and passion are all things that can wax and wane for writers, but they do have to be there in some combination at some point if you want to write. If you consistently lack any of them, there's definitely something going on that's worth addressing. So, let's look at each component individually to get a better idea of what they are and how they ultimately work together to help you write.

Inspiration is the collection of sparks that ignite story. In other words: ideas. All those ideas you have in your notes--you wrote them down because they excited you when they popped into your head. Something about those ideas intrigued you enough to write them down and want to explore them later. And the thing that makes you want to explore them later is almost always a question... some sort of "what if" that you need to answer for yourself.

Motivation is the "why" that makes you want to take those ideas and turn them into stories. It's the answers to the following questions: why I write, why I want to answer this question for myself, why I want to tell this story, why I want to explore these themes, why I think this character's story is worth telling, why I want to say the thing I'm trying to say with this story.

Passion is the fire that drives us through the process of turning the ideas into a finished story. It's love for the characters, world, and plot. It's love for all the things motivating you to tell this story. It's love for words and imagery and process. It's love for the act of writing and for being a writer.

Again, all of the above need to be present in some form and combination at some point in order for you to actually complete a story, but these things can all wax and wane during not just one story's writing process, but during different periods in your life. They can also exist on a spectrum that's different for each writer, each project, or different periods of time. BUT... if you never have any inspiration, motivation, or passion for writing... or if you have inspiration initially, but lose interest and have no motivation or passion, writing is going to be really difficult.

Lack of Inspiration - Inspiration is the lifeblood of writing. If you don't have ideas, you can't write. Ideas come from experiencing the world around us. As we live life, observe our fellow humans, learn about history and the universe, and speculate about the unknown, ideas start to occur to us. Whereas a non-writer might think, "That documentary about the future of space travel was neat," a writer might think, "I'm intrigued by the idea of generation ships. I wonder what would happen if a generation ship landed on the wrong planet?" That question is what gets you to the next level... the "why" that motivates you to take this further than a mere moment of curiosity. So, if you're lacking that, there's a very good chance it's because you're not absorbing enough from the world around you. Perhaps your experiences aren't varied enough, you're not observing your fellow humans, and aren't learning about history or the universe, or speculating about the unknown. In which case, my post: Guide: Filling Your Creative Well can help you get into that mode.

Lack of Motivation - Motivation in particular can come and go as you work on a story, but it has to be there at the beginning or you never get started. The answer to "why I want to write" is especially important, because one thing that happens sometimes is people try to get into writing for the wrong reasons. They don't get into it because they have ideas for stories they want to tell, and themes they want to explore, and things they want to say. They get into it because it sounds like fun, because "everyone's doing it," or because it's unique, noteworthy, and--they think--a path to notoriety and/or wealth. But without the need to tell stories, those things aren't enough to make those ideas come or transform them into something more than an idea. But something else that can ruin motivation, and often does for those who do want to tell stories: physical and mental well being. If you don't feel good physically or mentally... if you're busy, tired, distracted, depressed, low on energy, in a bad mood, dealing with chronic pain, under the weather, etc., those things can definitely zap your motivation, even if you really want to tell stories. See these posts for help on that: Writing with Chronic Illness, Writing and Depression.

Lack of Passion - Our fiery love for the characters, setting, story, themes, tropes, questions, etc... that's the thing that most commonly wanes (and sometimes disappears) for writers during the writing process. If it's not there at the beginning, though... if you never feel a fiery love for your characters and their stories... you haven't hit upon the right ideas yet, and you need to keep looking until you find something that really sings to you. But if that passion is there at the beginning and disappears, there can be a number of reasons for that. Physical and mental well being, definitely. Exhaustion, boredom, and any of the things we refer to as "writer's block." These posts can help with finding the problem and reigniting the passion: 5 Reasons You Lost Interest in Your WIP, Plus Fixes, Guide: How to Rekindle Your Motivation to Write, Getting Excited About Your Story Again, Getting Unstuck: Motivation Beyond Mood Boards & Playlists

I hope something here will work for you and help you move forward. But just remember: It’s Never Too Late to Become a Writer. If you're just not feeling it right now, that doesn't mean you won't in a month, in a year, in five years. There are famous, well-celebrated authors who didn't start writing until they were beyond their 50s or 60s. So, don't stress about it if it seems like writing just isn't for you right now. Maybe you'll come back around to it eventually, or maybe you'll decide that you're more of a story consumer than a story creator, which is okay, too. ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

LEARN MORE about WQA

SEE MY ask policies

VISIT MY Master List of Top Posts

COFFEE & FEEDBACK COMMISSIONS ko-fi.com/wqa

#writing tips #writing help #wqaadvice

244 notes · View notes

scintillyyy · 22 days

Text

there is something, and i'm saying this nicely, wrt to participating in fandoms & like. the idea of do you have to interact with the source material to enjoy a certain fandom or fanworks about it. and to me the answer is 'no'. there have been plenty of fandoms over the years that i have consumed fanworks of (either bc i didn't have time to watch the whole thing or lost my attention span, or it was a video game i didn't have a system for & i just gathered what information i could about it, or is was a show or something i didn't have easy access to (it was the early 00s, after all)). i admire fanworks' ability to draw people in and show them they could be interested in something they may have never even considered picking up before.

however if we're talking about creating for the fandom with no desire to interact at all with the source material, then, well. hm. with comics especially i totally get that there's a lot of different writers & characterizations & even the source material format can vary *so wildy* it can be easy to want to act like none of it matters because there's no true concrete unchanging linear canon. after all, any of the batman movies are a canon to draw from. so is batman '66. any of the animated shows as well. so is post-crisis continuity. so is rebirth continuity. comics fandom is a medium where you do have to do some cherry-picking when you form a preferred personal characterization of a character. and everyone will have their own interpretations & that's a general good! differences in opinion are a good thing. but if you're going to create for a fandom and address actual, concrete things that happen in canon then you're not actually dealing with a "well there's lots of different canon sources to choose from" thing. because now there *is* a specific, concrete thing that happened. if you're talking about bruce dying & returning that is a specific storyline that happened and is unchanging. if you're talking about the dick and tim fallout + resolution story from red robin #1-12 that is a specific thing that happened in one specific story that happened and is unchanging. there's not a batman '66 version of bruce getting lost in time. there's not a dcau version of the dick & tim red robin fight. it's not a thing where it's like "well who is tim drake anyways? there's lots of different versions of tim". that specific scenario happened to a *very specific* version of the character. if you're trying to address a very specific plotline, shouldn't there at least be some awareness of what actually went down in it? how do you know what you want to change and why you want to change it if you haven't experienced it for yourself?

and not that it can't be fun to play with how different versions of the characters might respond to plotlines they've never been party to & it certainly can be very fun to explore the tropes of certain plotlines with different versions of the characters, or mishmashed versions of different continuities of the characters. it's just. if you're trying to address or expand upon a certain, specific plot point that happened in a specific story to specific versions of the characters, then it's not so simple as "well there's no one true canon or canon for the character" bc the one true canon of that story event usually does in fact exist with the characterization it was written with. rebirth character differences existing now doesn't affect what happened then. those events are things that happened. idk.

#idk it's like 'well comics reboot and then that washes out the old canon so new continuity is no less canon than old continuity' is true but #but if you're like 'i wanna address what happens in the knightfall story'#that's a specific concrete thing that happened that you should probably know what happens in it #if you wanna transform it #it's not 'well bruce has many different iterations' he does. but. knightfall happened to a specific iteration so.

88 notes · View notes

bonefall · 1 month

Note

Looking for advice since you're great with stuff like this: I'm struggling with how to have a character fundamentally change. A character in my cat story loses his memory and ends up working with the main characters to stop his own plan he made to destroy the world (and after the plan is stopped, he regains his memories). I want his time in the Starless to change him, make him less obsessed with power, but I'm really starting to struggle with whether or not that makes sense and how to work that.

Hmm.. well, first bit of advice I always give is that characters are not people. They are writing tools. That doesn't mean they shouldn't be "realistic" or that connecting to the human traits in the audience isn't important.

It means that a character exists to tell a story.

By "tool" I mean "machine." Every trait is a piston, and ideally they work together to drive your story along. What are you saying with each trait? What is your beginning point for the story, and their end? What do you want to explore? What do you want the audience to take away?

So if you feel stuck on a character, find the larger message you want to impart with them. The job they're doing in your narrative.

What do you want to say about power?

What do you want to say about why Character X wanted to destroy the world? Why was he wrong? What feelings and information lead him to that conclusion?

What is his redemption arc doing for your themes?

Every writer answers those questions differently. For example, I feel strongly that power doesn't corrupt, it reveals. When you finally have the influence to make others do what you want, you make them do it. I don't see "power" as being like... a magic, abstract thing, it's influence over other people, and those people are ALSO individuals with their own reasons for following the leader.

Digressing; what I'm getting at is that, as a writer, I have a lot of thoughts on power itself. I got this way with a lot of reading and interest on the topic. You might find it insightful to experience more art, essays, and commentary on the subject, if you ever get stuck, and develop an opinion you feel strongly about.

Not just about power, as broad writing advice.

Anyway.

If I was writing the character, these are the things I'd be thinking about specifically and changes I'd be making on personal taste. I don't know your full story enough so, hopefully it's insightful;

First of all I'm always SUPER wary of the "correct but demonized radical" trope. Does my villain have a point?

Am i just giving them a Kick-a-Baby scene to make them wrong when they should be completely right otherwise

What are my themes and tone? This is VERY important. Steven Universe is about family and emotions with low stakes violence; the Diamonds are essentially abusive grandparents that Steven is coaching through intergenerational trauma. They fit the universe they're in. Jack Horner does not belong in SU.

So I'd look at Character X's purpose.

Knowing me, I'd actually take out full amnesia entirely. I have memory problems related to trauma so I'm a lot more familiar with major, important details blotting out RIGHT when I need them. Enough that I can put myself in the shoes of someone like BB!Fallenleaf who remembers a lot but the details are fuzzy.

So personally I think I could write this villan to be VERY funny lmao

"Hello. I am Gnagnathor the Destroyer."

"No you're not. He has three horns. You have two."

(DID I USED TO HAVE THREE HORNS?????)

I also just find it more resonant when a character still remembers what they did, why they did it, and is able to refute themselves with their own growth.

To me like... when a character remembers NOTHING to the point where they're not informed by their actions or history at all, how are they really still the same person?

in general though I find total amnesia uninteresting. I wish it was less popular.

What did Gnagnathor DO with his power? What did he WANT from it?

The simplest version of this I know is "Gnag was hurting and wanted everyone else to hurt too. Now that he has a happy place, he doesn't want that."

TO BE CLEAR THATS FINE. That's a REALLY common power fantasy and it's not automatically a bad story. It's popular for a reason.

Personally I feel strongly about the idea, though, that people with power don't change unless they lose it. There's no reason to.

People don't change until you break the environment that contributes to the behavior.

Especially with victims unfortunately-- the ugly truth is that a lot of problematic behaviors exist because they protected the victim from their abuser's actions. You need safety to really start to unpack that.

You can personally identify it and address it as much as you want, when your abuser starts to use That Tone you will still seize up. Just try to yank yourself back into your head when you're disassociating during a screaming session; your reward is raw distress.

That said, not all villains HAVE to have tragic motivators like that, or be ex-victims at all. Leveraging power to get what you want can be as ugly as just being taught the people you're hurting are subhuman.

Or making up justifications for why This Is a Good Thing Actually.

Some people will lash out violently when these justifications fall apart, because accepting it would mean they're Being Bad

Most people have an innate desire to Be Good. Like... the vast, vast majority of people. Some sense of morality is observable in all intelligent social animals; dolphins, chimps, elephants.

Tangentially, if you understand that people don't WANT to be bad and that the natural response to a scolding is defensiveness, you understand that convincing people of something is a LOT easier when you approach with kindness.

AND IN TURN: be wary of those who are flattering while trying to convince you of something. This is Manipulation 101.

So back to Gnagnathor

Do I want to talk about environment and how it changes him to be away from power? How traits that previously earned him wealth or influence are suddenly incredibly taboo, so he can't use them here?

On that-- HOW did he get his power in the first place? Re: I'm very wary of the "correct but demonized radical" trope.

Were his minions following him because they have serious issues and he exploited their desperation? .....are you centering the experience of the poor, sad abuser over his victims

Or are they ALL united over something important and legitimate? With the redemption of their villainous leader, how are you planning for that to frame all of their former followers?

(This is why redeeming minions is usually a lot more productive than doing it to the leader, imo. Redeeming Zuko means you can explore the familial legacy, the indoctrination of the Fire Nation's children, their justifications, the way systems make monsters out of people. Redeeming The Firelord would probably have caused Azula, one of his victims, to pick up his slack and now, suddenly, you have a VERY uncomfortable situation where Ozai is thrashing one of his abused children but Good This Time.)

(Not to mention that, again... why would he do this. He has power. He's doing what he wants and is used to this situation. It would be a numbskulled narrative choice.)

Aaaand that's about all I can say without essentially being a cowriter or editor. It's on you to figure out what you're trying to do and say here. I'm a good writer on this subject because I think about it a lot, which has lead to my strong opinions and point of view. Your art is a reflection of you.

#This is mega off topic but the question kinda reminds me of hazbin which I watched a couple days ago #I'm starting to identify why I was dissatisfied with it I think #I didn't dislike it though and I'm waiting for the next season #If only as something I enjoyed but wish could be better.#Bones gives advice

93 notes · View notes

tenshinokorin · 7 months

Text

TnK's Trigun Fic Listing

Ok now that I've got 15 fics out for Trigun (so far) and at least a couple of those are upwards of 20K and some of them are sequels and followups and ongoing, I thought maybe I should do a proper list of things, to make it easier for people who want to read in some kind of order. I'm terrible about talking up my own work but this is also for my own reference so that's fine, right? ^^; All fics are Vashwood-centric (I will get to Nai in a minute I have a backlog) and ratings vary from Gen to Explicit, though all are intended for an adult audience. This list is complete as of September '23, I will update it periodically as needed!

NB: I'm lucky enough to have gotten fanart for some of these and sometime when my head is not full of mud I'll go in and add links to those where I can. (Or please drop a link in the replies if you are one of the wonderful artists in question!)

THE BIG THREE STORYLINES:

Someday Out of the Blue & I Believe in the Kingdom Come

Trigun '98 canon. Reincarnation fic. The first one is a story I started writing over 20 years ago and quit after a chapter because I was just too heartbroken (and did not know it, but was also too young). Picked it up and finished it this April (2023) after Stampede clobbered me and I fell off the "we don't talk about wolfwood" wagon. The second story is a direct sequel to tie up some loose ends from the first one, and also to indulge my need for a proper happy ending. (I think a lot of folks don't realize Someday has a sequel but it does!!)

Black is the Color and Mysterious Ways

Trimax Canon. Resurrection/Fix-it/Angstmance with a much shorter, sillier, smuttier epilogue. Three years after the end of Trigun Maximum, Vash is having some trouble laying his ghosts to rest. (You may have seen this incredible artwork which has gotten around a bit and boosts the story better than any summary of mine possibly could.) Weird things happened when I was writing this, I don't mind telling you. Mysterious Ways was mostly an excuse to explore some of the more interesting concepts brought up by the first one, but saying anything more would be spoilery.

Eyes of the Storm

(Mostly) Trimax canon. Cryptid Vash AU, slowburn romance, ongoing. When Nicholas D. Wolfwood gets roped into being the new caretaker for the now-abandoned orphanage where he spent his childhood, he soon finds out that his own hidden memories are not the only thing haunting him. (What the fuck is a Typhoon?) Wolfwood, Vash, Livio, Elendira, et al. This is the one currently in progress at six chapters out of ??. Pretty SFW so far BUT NOT FOR MUCH LONGER CAVEAT LECTOR.

List continues with standalone and shorter fics below the cut!

Honeymoon

Generic Trimax/98 setting. Plant Heat, Wingfic, Tentacle Fic, What the fuck is Hay Fever. Wolfwood offers to help Vash out with a personal problem and gets a little more than he bargained for.

Strange Powers

Generic Trimax/98 setting, comedy/smut/potato jokes/fisting with a loaded prosthetic. What if Vash and Wolfwood (accidentally) got really, really hella high?

Hurricane

Trigun '98 Canon.

Vash: Make money? As a priest?

WW: Well. *mysteriously* Not only that.

Vash: (oh my gosh he's a prostitute)

Shortfic. Wolfwood tries to figure out how to offer his services to someone he doesn't really want to be a paying customer. Short and smutty while also demolishing Wolfwood's professional boundaries.

Skin Tight

Generic Trimax/98 setting. The Infamous Red Dress. PWP, Wolfwood needs to be in the Vash Sensory Deprivation Tank, Vash in high heels, the dress gave its life for this fic you should read it and honor its sacrifice. Look. This is just porn, guys. You want the porny fic? This is the porny fic. (just kidding most of them are porny fics but this one is especially so.)

Secondhand Secrets

Generic Trimax/98 setting. Introspective/Vignette/Wolfwood POV. Vash's artificial arm always moves in his sleep, and Wolfwood wonders what he's looking for.

Personal Jesus

Badlands Rumble canon (post-film), Wolfwood has poor emotional coping strategies, hurt/comfort (Wolfwood provides both), first-time. That red hotel minifridge never stood a chance.

A Fool From Any Direction

Trigun '98 Vash's weird horny schtick is a front, and self-respect doesn't save lives. Which is too bad because when Wolfwood finds out what Vash is planning next he's gonna kill him.

Benediction

Trimax but could also be '98; Sometimes being a hero is not all it's cracked up to be. Or maybe Vash is the one cracking up. Hurt/Comfort, Wound Care & Bible Quotes, Noman's Land is a bitch of a planet. Shortfic, feels, non-explicit/no sex.

A Bit of a Tight Spot

Generic Trimax/98 setting. Costume Porn, PWP, No corsets were harmed in the making of this fic. I feel like this one gets missed a lot which is MADDENING because you guys. WOLFWOOD'S DOUBLE Ds IN A CORSET. And like, in a gender euphoria way, not in a comedy drag kind of way (though comedy drag does make a small appearance). I don't know how the good minister tightlaced in cuban stockings while giving Vash a blowjob in front of a mirror in the attic of a whorehouse can get so often overlooked, maybe my title or summary is lacking, but it's one of the hottest things I've ever written and its engagement is just in the basement? When (emphatic baffled hand motions to Nicholas D. Wolfwood wearing a garter like a thigh-holster). Anyway.

The Quick and the Bed

Trigun '98 Comedy, Romance, First Time. The single bed trope. Drunk Idiocy. Wolfwood's vows are in serious danger. (Wolfwood does not have vows.) Readers have let me know that they find this one amusing. Roommates of readers have sent me threats of bodily harm due to badly-stifled hysterical laughter at 3am.

THAT'S ALL FOR NOW MORE STORIES WILL BE ADDED AS THEY OCCUR!

SMALL DISCLAIMER: I'm a full-time working writer and my fanfic is something I give away for free out of love. Please don't copy, alter, plagiarize, feed to AI in any form, fold, spindle, or mutilate. I'm not in the market for concrit, but if you like my stories please feel free to leave me a comment/kudo, download/print/fanbind for personal use, or let other readers know!

#trigun #vashwood #trigun fanfic #tnk fic #trigun '98 #trigun maximum #trigun stampede

166 notes · View notes

wispforever · 5 months

Text

Some thoughts on Itachi

So, I've seen a lot of comments circulating about my tags on this post, and I'm intrigued at the interest. I didn't expect it, as I see much more pigeonholing of Itachi's character than honest to god analysis. No hate- I'm no stranger to Kishimoto's writing. Some of his characters were unfortunately butchered or never given the chance to be developed properly, and Itachi is most certainly no exception. That said, I like to grant him a bit more nuance than I see on most blogs. I think people get a little wrapped up in the supposed "moral implications" of exploring how Itachi was also a victim of the system, as well as someone who victimized many people. But it's silly to equate character analysis and context consideration with condoning genocide.

I have a good laugh every once and a while at the metaphorical gymnastics people do in order to stay in the good graces of a bunch of internet trolls who are just Waiting for any opportunity to tell you you love murder and think it's delicious just because you made a post exploring a character's background. Media is grey; it's layered and wonderfully complex. There are many wrongs and rights in every story, and many wrongs and rights within those wrongs and rights. That's what I love about Naruto. Often times it's really too much like real life. Instead of people being black and white, right or wrong, bad or good- they're usually in a tough situation, trying their best and falling short, don't have all of the information, acting with good intentions or acting on what they believe will bring about a lesser evil, and then end up hurting others.

But it is much easier to assign blame and move on. A so-called bad person will always be the perfect scapegoat for issues bigger than them. In Itachi's case, the fascist government in the Leaf. It's easier to say Itachi could have just refused and decided not to be involved, than to recognize that like almost every other character in the narrative, he was under extreme duress, living in a military state. He was a child whose existence, along with all the other children and adults in the Leaf, was only valuable as long as he could serve as a tool for the war machine in the shinobi world's fucked up political system. And saying this is not the same as saying he was not capable of better decisions or that everything that he did thereafter or in general should not be read critically or subject to hypothetical consequences. It is the same as a saying his actions cannot be fully understood without complete context, and the themes of Naruto will never come through if every villain is just "evil" with no further nuance. And it would be boring too LOL

That said, I love to think about Itachi's situation back then. The ages in Naruto are a bit muddled, a little inconsistent, subject to change and interpretation, but Itachi was a child when he murdered everyone in the Uchiha compound. Most sources say he was 13. It should go without saying that someone so young isn't capable of the same decision-making or critical thinking as say, a 30-year-old, someone whose brain is finished developing and has much more experience on Earth.

Itachi's experience at this point in his life is informed by his age, and it's obviously informed by his childhood, as he has no other place from which to draw conclusions. Itachi grew up in a warring state. He saw people die and was subject to extreme violence in his formative years. To make matters worse, he was taught that war was inevitable and the only thing he could do to guard against it was kill others before they got the chance to kill him (threaten the village). Thusly, Itachi internalized at a very young age that what was in his power was to minimize damage (to himself, to his village, and to the world). What was not in his power was to stop this violence entirely (by adopting a critical mindset and going against fascist powers).

A part of this I think people often forget is that Itachi has absolutely nowhere to adopt this mindset FROM, as even though his father and the other members of the Uchiha clan seek equity in the Leaf, if they were to overthrow the Hokage and create a new system, it would still presumably center around the same ideals (minus, of course, the oppression of the Uchiha as a group). Fugaku is the head of the Uchiha clan at this time. As someone who imposed near impossible performance-related expectations on both of his sons, and withheld love and affection whenever they came up short (so often that it was at the cost of having any considerable emotional bond with either of them), there is absolutely no good reason to believe that Fugaku would reform the Leaf using a non-fascist ideology. And if he did, there is no good reason to believe that he would be some kind of visionary LMAO

This is important to remember because when it comes down to Itachi's decision to either kill everyone in the Uchiha compound and his family, or be part of the coup that would overthrow the Leaf, some people treat it as though it's a choice between fascism and non-fascism, which it most certainly is not. And if it was, Itachi, as a child who had grown up immersed in this ideology, would not be able to appreciate the difference. This context allows us to understand further what Itachi was really weighing in that moment. Accounting for his young age and limited worldview, the only valuable difference in this moment to Itachi was the amount of bloodshed that he would "allow" to happen. Essentially, he sees the options as follows:

Either give in to Danzo and kill everyone in the Uchiha compound, or facilitate a coup where the current government is (hopefully) overthrown and risk starting another war.

Here, Itachi pauses. He has known war. He knows how it affects children, adults, families, and whole nations. The peace he's living in currently is bought with blood, but it's the only peace he's ever known. The alternative is horrifying. And a war in this context, Itachi likely thinks, would be his fault, as he has now been put in the position to "prevent" it. Danzo and the whole shinobi system have groomed him into thinking so. Itachi, at age 13, cannot understand that there would be no war; it exists only as leverage for Danzo's argument at this point. His sensitivities are being played on.

Fugaku, though he is not the same as Danzo, offers about as much help as he does (that being none). Fugaku has no interest in avoiding war; if a war breaks out, it's justified because it will still mean his clan will no longer be living in oppression. This idea is valid, as fascist systems and discrimination can only cease to exist when we rise up against them; unfortunately, this most often calls for righteous violence, as the oppressive powers will not be moved with peaceful shows (not to mention they are willing to go to extreme lengths to avoid losing their hold on the people they have crushing power over, i.e. the Uchiha massacre). But Fugaku has no words to explain this to Itachi, who fears the worst and further fears being responsible for the worst. All he does is act as if it's a moral failing that his 13-year-old son is unwilling to stage a coup, which he believes could mark the abrupt end of a peace that's only just begun.

That said, let it be known that Itachi does appreciate this situation with SOME nuance, though it isn't of the kind that might have enabled him to see he was being manipulated. He at the very least understands that Danzo is a warmonger and oppresses those he fears (the Uchiha). He understands that the rights of his clan have been sorely disrespected, and that the issue needs correction. He understands the anger of his friends and family. This is why it takes him much deliberation before he can even come close to making a decision. He plays both sides right up until the end, listening to Danzo, as well as Fugaku and Shisui, paying attention to the current atmosphere in the Leaf as he tries to decide.

It is something he doesn't want to do. Here's where I get to the part I put in the tags of my drawing.

In this situation, it's almost worthless to write an analysis about Itachi's feelings at this time, his understanding of what was actually going on, his loyalty to his clan or his loyalty to the Leaf, because really, he could not grasp it. He was never prepared for this. He never knew he would be asked to make a decision he could only understand as "your family or the world?"

Itachi was put in a position that had no happy ending. There was no decision he could make that would not hurt. That could not result in a cataclysm that split him right down the middle. There was no version of this story that a 13-year-old could carry out thinking "I have done the right thing."

And that's the important part. Both sides asked him to make this decision, and so both sides are guilty of placing an immeasurable pressure on a child who should never have been put in such a position. Regardless of ideology, regardless of price, regardless of oppression or loyalty or devotion or any other thing- someone else should have made this decision for Itachi. Someone else should have been responsible. An adult, at the very least. Someone who COULD understand the implications of both options. Someone who COULD go forward and appreciate the evil of fascism and know that a coup was necessary. Itachi was never capable of such a thing. If he made the "wrong" decision, than every child who can't explain to you what a fascist government in a military state looks like and explain what the difference is between a hate crime and resisting a hateful power, is also wrong. Here is the nuance. These are things a 13-year-old in this universe cannot be expected to understand unless they are taught. And Itachi had no teacher. Quite the opposite. There were only forces pressing him from both sides, saying "choose."

Had his father done this for him, had Shisui been in this position, had any other adult Uchiha acting as a spy been put to this task, it would be a much different narrative. But of course, it had to be Itachi, who Danzo knew he could manipulate. It had to be a child, someone skilled enough to do the job, but inexperienced enough, afraid enough, to be willing to sacrifice everything they had to see the mission through. Someone you could whisper "greater good" to and have them hand over their well being on a plate. Someone who didn't understand they had the power and strength to destroy the system threatening them.

On a narrative level, Itachi exists to illustrate this point. How young people are systematically indoctrinated to serve a greater purpose, be it under a specific government, religion, or otherwise. We see it in real life fascism, in real life cults. There's no mistake. It isn't an accident that Itachi's story begins like this.

Which brings me to the rest of his life. The reason I drew the picture in the post referenced at the top. Itachi's character is a bit of a mystery the rest of the anime. Be that because of bad writing or an intentional omission, his motives, thoughts, and opinions are largely left ambiguous. However, there are still a few moments that interest me as far as the implications of his development.

When Itachi first comes back to the Leaf village, he faces Kakashi. On the one hand, this could simply be a narrative tool- the big bad meets the big good. He takes Kakashi out of commission! The first rogue shinobi we see who is able to defeat the pillar of the Leaf, the Copy Ninja, and without even breaking a sweat!

On the other hand, I find the brutality of Itachi's attack very intriguing. Again, it could be the tough guy act, but he's able to keep three jonin busy easily using standard genjutsu (with the help of Kisame). It wouldn't be a stretch to say that using the tsukuyomi is overkill, and at a considerable price, we learn later.

Why then would Itachi, who has been shown to have excellent battle intelligence, who is strategic to a fault, be willing to jeopardize his health among other things just to... scare the Leaf? Make sure Kakashi wouldn't be a nuisance in the future? Sure, the last one would make collecting Naruto less complicated, but they dispatched Kakashi easily enough, and surely Jiraiya, who Naruto was with at the time, would pose a bigger problem than Kakashi.

It doesn't make strategic sense, which makes me wonder if Itachi has a special animosity toward Kakashi. Being his superior in the ANBU before the Uchiha massacre, someone who was willing to conduct surveillance of the Uchiha compound without question, Kakashi could have become a symbol of the indifference of the Leaf for Itachi. He could very well have been a reminder of the inoperable position Itachi was put in when he was still a child, and Kakashi, of course, was an adult. Another adult who did nothing. Noticed nothing. Did not help Itachi.

And while I'm certain that Kakashi would have taken severe issue with the goings on in the Leaf at that time, judging by his reaction when he finds out the truth in Shippuden, Itachi knows him only by what he did then. Facilitated surveillance of the Uchiha compound, was a supportive superior, but nothing greater. A bystander whose compassion, while well meaning, was entirely unhelpful.

I don't think it's far fetched that Itachi fucking crucified Kakashi because he was so angry at what being in the Leaf did to him. At some point, as he got older, he realized how terrible it was. He realized there were people like him. Children who were "born killers". Pawns in the game of the shinobi powers.

After leaving the village, Itachi joins the Akatsuki, who are also seeking peace through war (another story). He is supposed to spy for them, but doesn't follow through in any enthusiastic way (that we're shown). He works alone for quite some time, or else with a group (briefly he was shown with Conan and Kakuzu). He is partners with Orochimaru before he's expelled from the Akatsuki. He is partners with one of the Seven Swordsmen of the Mist. He grows up and meets many people, sees lots of stories unfold. He learns that he isn't in a minority. Many shinobi are just like him.

And then, as an adult, he is partnered with Kisame, who he finds excellent camaraderie with because of their similar backgrounds. We see in this relationship that he understands what happened to him and what he did enough to acknowledge that, while neither of them are monsters, as many people say, they are human. And humans make mistakes. Humans are complicated. Wrong and right and wrong and right. They understand each other, and Itachi understands more clearly what the world puts these children up to. What it forces shinobi to become. That it isn't all his fault, but he still did it. And so he is responsible. He appears to be able to live with that.

But when he returns to the Leaf, those feelings bubble up. He hates the Leaf. He hates that system. He hates what he did. Maybe he even hates being a shinobi, how his excellence was weaponized, how being an Uchiha doomed him and his clan. And for what?

Itachi is played as a character who is only sensible, only logical, only interested in practical things, has nothing to express. But the way he behaves toward Kakashi in that moment bares all his grief and anger. I just like to think about it. We have so few moments where we get to see Itachi genuinely. The fight with Kakashi, the Sasuke/Deidara fight, his thoughtful moments with Kisame. Just makes me wonder what could've been if Itachi's story had gone a little differently.

Anyway, if anyone would like me to expand on any points or has additional thoughts, feel free to hop in my ask box or leave a comment. Thanks for the interest, I love to talk.

#this is wisp #itachi uchiha #analysis

134 notes · View notes

orrianreaper · 4 days

Text

GW2 people - Pitch me YOUR idea for an Expansion!

What's the theme, where are we going, what lore threads are we picking up on, what's the story premise, what mechanics do you think it could have.

I love spitballing ideas when I'm talking with friends so I'm posing the question To Everyone because I know everyone has some pet concepts floating around. As self-indulgent as you'd like, as unrealistic as you like, just throw ideas around, I wanna hear them!

The One I think I have the most rounded ideas for would be an Underwater Expansion. Picking up on the threat of whatever is terrorising the deep oceans, having some exploration of the Largos and bringing back in the Quaggan and the Krait maybe!

I love the sort of depths we get in maps like Frostgorge sound, and underwater combat has badly needed a rework and a tune up - there's loads of skills which straight up don't work and break entire builds underwater, and this would be a perfect excuse to try bring it up to speed. Maybe even make the underwater weapon sets function on land, to satisfy those who're after more weapons. You could make the maps a mix of true underwater and perhaps giant air bubble caves so you still had some land exploration even in maps otherwise set deep under the ocean. A map meta split with land phases and water phases. Additionally as personal bias wish, I'd love map event/meta design more like HoT. A map-wide Story with a few chains with specifically Build into the actual true Meta. I also simply love the idea of having a bunch of enemy designs based of the ocean and the abyss, there's so much incredible inspiration and interesting marine life. and biomes too! Give me a hydrothermal vent section in one of the maps, hell underwater 'water' in the form of brine pool 'quicksand'.

The Turtle might get some more use out of it's underwater, and skimmer would absolutely get spotlight as a skyscale isn't going to get you too far here - hell maybe even some speedy new underwater mount could be a fun addition to the roster.

I can see a plot being around trying to work with the Largos, The 'Terror of the Deep' being a danger and learning from them about how to survive the hostile environment and also convince them work with you to Hunt the 'Terror'. Maybe you come to the area of the ocean with the Quaggans and it's convincing the Largos to take them seriously as allies against whatever you're fighting? A quaggan companion character would be really fun, and you could easily bring back Sayeh al' Rajihd from the personal story given Largos involvement. I think not only would it be something very different in terms of the maps, which granted quite a few people might not like (thalassophobia reasons, or general Dislike of Water Gameplay reasons), but I think a rework of the underwater mechanics would benefit a bunch of places and it's something that really doesn't get touched outside of base game and maybe like, the Leviathans in EoD. There's so much neat creature design inspiriation swimming around out there, and I know so many people love the largos and even if not playable getting to see more of them could be neat! Also - it'd finally make all those legendary full people happy. A Legendary Aquabreather :P.

And a new suite of legendary underwater weapons since the G1 set. (and not themed pretty please make them all Unique.)

#gw2 #guild wars 2 #apollo talks #I would also adore a fully underground give me three-four tangled depthslike cave maps for an asura expansion where they go back undergroun #to explore and something's trying to capitalise on the hole left by Primordus #and something with the Norn heading back up into the northern shiverpeaks again and similarly dealing with #whatever is trying to fill the jormag power vaccum #and how the spirits are doing #there's so much solid stuff to play with

42 notes · View notes

sylvaridreams · 2 months

Text

I'm going to try and word this better than I did at 1 am venting on cohost last night, and maybe slightly gentler. I haven't finished the SotO update from yesterday. I got home, played for a couple of hours, did some meta on the current map, triiiiied to get myself to go back to story... and I couldn't.

I was BORED. It was quite honestly boring. Any dialogue that matters is Peitha talking to her people. I am a stage prop that occasionally vocalizes expositional questions and fires arrows at grunt mobs.

I could physically feel myself losing any remaining interest in the story as I clicked "what does this mean? What do you think of Peitha's plan?" type questions (which offer a poor illusion of choice in conversation. Look! Dialogue options! You can click all of these in any order you like but you must click them all!)

Why should I care about this story? I'm being brought along as the muscle that Peitha doesn't really need. I'm not offering anything special I'm terms of skill. I'm not an invaluable resource. I'm not even being utilized as the leader that gw2 has ALWAYS made me! It's always been "You're out there leading the armies, commanding all the way from the front line to the supply chains!" Now I'm just kind of around. Run a few events and come back. Characters refer to me and I apparently have no in-game response. MY CHARACTER doesn't seem invested.

And so many new characters. Every drop, it's like, have a bunch more named people! I was learning names during drop 1, and know some of the Wizards off the top of my head, but honestly I’m not bothering anymore. Why should I? Even if Nexus isn't killed off in the next chapter I play, I'm never going to meet this character again after he stops serving the story.

And where IS the story? Where is the meat? Drop 1 was at least interesting to me. Secret society hiding demons from the Commander. Getting sucked into this strange and horrifying place. Getting the life beat out of Alba by a hulking, terrifying demon and crawling away in fear. Escaping into the arms of strangers and getting this unknown voice in Alba's head, talking to him, saying what he wanted to hear, teasing him. Him refusing to tell anyone she was in there, because he *trusted this unknown voice in his head over all these strangers.* The story lulled a lot and it wasn't like... prime gw2 content. But it had a few hooks. When in Amnytas, Alba GASPED "Peitha!" right outside of the next story step and said "I can *see* you," and I turned my camera and saw what I knew, what Alba had to have suspected, confirmed. That there was a demon using his mind as a lounge. THAT was a moment, it was SOMETHING!

At least it was fun at points, at least there was some small amount of intrigue and mystery. And from there it was all just, "take a backseat, Wayfinder. This isn't YOUR story." I'm getting nothingburger bites out of each new story drop. Oh we went into Nayos to take the fight to them and killed Peitha's model reskin cousin. Anything else that drop? Anything? No but next time we recruited some general to fight with us! Can I get a smidgen of story? Something to hang onto? The only thing this drop that hasn't been "Don't care didn't ask plus I've seen your character model elsewhere" was Alba being called "that ugly creature" by a kryptis.

That's all I've got. I'm not enjoying it. I don't like SotO. And it is not for lack of trying it, it's not because i just don't like change and don't wanna see something new and different! This expansion feels like an empty parody of Guild Wars 2, and it feels like a slap in the face to anyone who was invested in Tyria. Pre-release they really hyped up that "It's time for new places and new people! We're gonna get a new cast and explore a vast new world!" I CARED about that world, which we still had SO MUCH left to explore. Are the borders of the map even the ends of the world of Tyria or does it keep going? Who cares. There's shit going on above the clouds. I cared about those CHARACTERS. Does Alba get to see people that he loves and cares about ever again? Is he making it to the wedding? Does he get a chance to go home and see anyone? Like yes we are not chained up in the Tower between instances, we can still play the game in those old maps, but the characters have been written out of the story.

And frankly these new ones are shitty replacements. I don't care about these people. I maybe had some small amount of "OK cool its Zojja I know her!" but it's not like I had any deep care or feeling for her. Not personally. Peitha was interesting at first but being brought along as part of her nameless, faceless grunt entourage has made me lose a lot of interest. She's not going to be a core character post-SotO. She either dies at the end, or takes over as King, and at best becomes a very occasional callback. "Ah, King Peitha! It's been some time, how is Nayos!" She's not going to reclaim the throne and then ignore rebuilding her people's infrastructure to hang out in Commander’s brain all day or join them on quests. We are a temporary ally and a stepping stone for her story.

Which sucks.

In terms of the rest of the SotO cast, it again feels like a pale imitation of prior Gw2 content. Like they're saying "remember season 1, meeting all those people one by one who would become your best friends and allies in life? 🤔 " and then they didn't even do it that way. Season 1 was a gradual introduction to these characters that you were given time, story, and Reason to care about. If Braham, Rox, Marjory, Kasmeer, Taimi, Rytlock, and Canach had all shown up and said "oh we're the Best Friends Patrol. Come along with us stranger!" I would have felt like a tag along. Not an equal in the group. Instead we met on level ground. We became a team together, we became friends together, each of us a vital part.

Which is opposite to how it feels now. These characters have deep history going back AGES. I just showed up, no one respects me, I'm not privy to any information or details on who is who and why should I care, I don't Get story time to ACTUALLY hang out and meet these people and develop my OWN relationships with them. When I leave, they will not care. I'm just being brought along like a lost kid at this point, until we reach customer service and they can drop me off, or until I wander away and find another deep group to follow.

I don't like this story. I don't like the setting. I don't like the characters or the group dynamic. I don't feel like an EQUAL in this expansion, I don't feel like I matter. Anyone could stand here and ask supporting questions to drive the dialogue between the 2-3 characters that actually matter, which again, does not include me.

And FRANKLY I hate that no one can say anything that isn't glowing praise of GW2 and Anet and every little detail is just scrumptious don't worry I love it, without a bunch of vague posts filtering in about "so much Negativity, everyone is a HATER, you just don't support The Writers and want them to FAIL, well then stop playing the game and delete your account and blog and go away forever, REAL fans LOVE nothingburger" to shun whoever dared say "I didn't like some or all of it." I'm happy for you if you're liking SotO but I am not. I'm sorry if you don't understand that criticizing something that I've played for a decade doesn't mean I hate it. I'm sorry if you can't take the MILD CONFLICT of me or someone else saying "I love this thing that you love too but I don't like how the new part feels" but most of us learned about conflict in kindergarten or at least through children's picture books and TV, so idk. Maybe you just need to cope at that point.

As it stands I don't like the expac. I don't see Anet turning it around and blowing my mind with the ending. And I really don't even care how it ends. I was asked the other day "how are you going to handle Peitha?" (in terms of the canon that I write, which has already moved past the end of SotO.) And frankly I was like. I dunno. It doesn't matter to me. She's either dead or on the throne, I don't care much either way. We could get the huge plot twist at the end that Peitha was the big bad or Isgarren or WHOEVER THE FUCK, and I wouldn't care. None of this matters to me. I'm going back to Tyria with my writing. The rest is filler.

#soto spoilers #gw2 spoilers

70 notes · View notes

celestie0 · 2 months

Text

notes on kickoff ch.7

hellooo if you're here thank you for taking the interest! i just had some creative notes i wanted to get off my chest with the release of ch.7 lol i felt compelled to do so with this one i'm basically journaling here. you can read this after reading ch7 here!

I. on gojo's feelings

as for why didn't gojo just tell reader how he felt at the end of the chapter, and instead only says what he does. i think i rewrote this ending like five different times, he was never supposed to tell her at this point based on my story planning, but i did explore the idea of a dramatic confession here regardless, and it didn't fit for lots of different reasons for one, i think he's finally able to put himself in reader's shoes. it's true he's pretty dense and obviously has commitment issues/valid fears that keep him from opening up, but that still doesn't mean he hasn't hurt reader in a lot of different ways already. he realizes, whether intentionally or not, he's led her on and to do a complete turnaround within a few hours while she's already trying to process rejection as she is clearly withdrawn from him i believed would've been selfish on his part, and could possibly cause even more hurt over the fact that he could come off ingenuine. gojo is finally emotionally aware of her enough to recognize it, but he's not a perfect person so it still slips through that he's distraught at the thought of never seeing her again. in general i'm of the opinion that if someone asks for space, you respect that unless they say otherwise of note, just because he realizes that he has these feelings, doesn't necessary change his fears, as no single moment can undo years of trauma, so i think that's why he bites his tongue too. i'm not keen on making this a "woman fixes man" story but i moreso want to embrace the sentiment that you don't need to resolve every single bad thing that's ever happened to you in order to embrace love or happiness.

II. on gojo's commitment issues

i know it was brought up in the first gojo pov that he has issues committing to just one woman, but i wanted this chapter to reveal that it's really just his fear of opening up to people due to the still raw loss he feels of losing someone he loved. i aim with his pov to be more of a stream of his own consciousness rather than from an omniscient observer, which may explain the ambiguity. he's not sure if he's able to open up to a person in a way he knows is normal and healthy, so he settles on shallow connections instead. just wanted to clear this up, and say that it won't be any sort of plot point in which he struggles to be sincere or faithful when he seriously wants to commit to someone as he has no issues with that if he truly wants to be with them (unlike the whore he's been so far in the series lmao)

III. on strawberry vanilla soda

btw i've never had this flavor of soda i'm not even sure where i came up w it loool or if it even exists. i was kind of toying with the idea of gojo seeing reader's message on the can during the match, and that would maybe help him get more focused on the field (sooo sports romance cliche but i still love it haha) but i settled on him seeing it afterwards to kinda parallel the clumsiness he's had with reader so far. for some reason, the universe just doesn't want him to get his timing right with her lol

IV. on angst/conflict

i know ch7 was a bit differentttt less gojo x reader and more just gojo lmfao, it was also a bit angsty. it definitely won't stay angsty throughout the remaining chapters. this was just gojo's lore drop chapter LOL. there will still obviously be angst here and there, but i've got a lot of fun, cute, tense, silly, passionate, messy scenes still planned similar to ch5&6 because i prefer writing those kinds of scenes haha. ultimately this story was always meant to be a full-circle romance, so ch7 was to lay some of the emotional groundwork that gets brought up as the story builds to its climax

that's all i have to saayyy if you actually read this whole thing i love you?? lol. ch7 really emotionally resonated with me as i wrote it, both as someone who understands how gojo feels but also as someone who understands how reader feels, and if it resonated with you too then that makes me very happy and that's ultimately every writer's dream haha. was very cathartic to share these thoughts. i hope to see you in the next oneeee <3 have a wonderful rest of your day!

#kickoff #gojo satoru #fanfiction

67 notes · View notes

christiansorrell · 5 months

Text

TTRPG Read-Through: Patchwork World

Here is a read-through I did last year (originally posted on Twitter) of one of the most unique PbtA games I've ever read: Patchwork World by Aaron King! - Christian

Credits up first. I know a lot of these folks and they are really cool! Excited to dig into this. I've heard good things, and it's been a while since I've read or played any Powered by the Apocalypse.

This is a cool, strong set up for me. I really like settings that ask characters to face a changing world and either take up change themselves or work to restore the old way of things. It's a headspace I find myself in a lot IRL these days so it's fun to explore.

I'm interested to see how the no stats, no playbooks angle of this game works, considering playbooks are typically such a staple of PbtA games.

Standard three-tired success, mixed success, fail forward resolution for rolls here and questions on the moves determine your bonus to the roll. Easy peasy. +2 is the max bonus.

Other types of rolls are described here. Interested to see how they come into play. I also love clocks and use them in pretty much every game I run so it's nice to see those laid out here too.

We just love a lil guy, don't we folks?

A good chunk of the opening here is spent on laying out a lot of solid foundations of roleplaying generally. It feels like a book (so far) that would work for entirely new players. It doesn't feel essential for me, but I never mind a game that supports varied experience levels.

Character creation is wide open, especially since there aren't playbooks and the text stresses that character creation is very much worldbuilding because of this. Fate-like concepts and tags are in here too which are things I generally enjoy. I like the Drawback mechanic.

Moves are in the playback I set in the other room so I'm gonna go grab those. You get two chosen moves and everyone has access to a number of default moves. You've got three other life/XP things to keep track of too. I'm especially interested in Hex.

There are a lot of moves! They seem quite varied and often very weird, fitting well with the titular patchwork world. You can have a duck's slick soul to dodge more easily or a magical space suit or speak to birds or be good at cartography. Overwhelming, but in an exciting way.

You also choose a community as a party. While PCs all have their original homelands (before the end of the old worlds), you know have a community that gets its own little sheet. This is a cool reshaping of the Gangs from Blades. I also like how the community can change over time.

Coming back to a PbtA game after months of more OSR-minded stuff, I think a lot of what these games contain are things that experienced players would say you could just do in any game at any time that it makes sense in the story, but I do find value in stating what's possible.

Esp since many players come to games with artificial limits on their options (whether that's from video games, more traditional RPGs, etc.). I just think good GMing here requires making sure that the players don't limit themselves just to the bevy of explicit options either.

GM moves (mostly to guide the response to failed rolls). I really think the community aspect of this set up is one of the biggest appeals to me so far. That and the wild list of moves, which I'm sure makes for amazing parties of characters.

I always feel like it's never something I should be in my own writing (for some probably unnecessary reason), but I enjoy the first-person, casual writing style throughout the book. Makes for a very chill read.

Good to see this game employs the Branson Reese style of NPC naming.

Stress acts as a single catch-all health and challenge rating for NPCs. Ideally, I'd hope this would help lead to the PCs approaching encounters with more than just violence.

Sections like this are what I'm referring to when I say this book feels very friendly to new players. It's got little anecdotes and thoughts like this throughout.

Look, it's been a while since I've seen A Christmas Story but... it didn't have ghosts in it right?

There's a sample adventure in the back (which I'll skip for this read-through) plus loads of random tables. Some wonderfully bizarre stuff in the characters and faction tables. Really gives you a good idea for how gonzo you can go with the setting.

Love these two in particular

Optional rules include hard mode (which I just think is kind of funny to see in PbtA, but could be cool if you lean heavy into the post-apoc setting) and some optional moves. I like that some moves focus on romance, something I enjoy IRL but never think to focus on in games.

I was wondering why this was the sixth edition!

That's all for the book itself. Going back to the packet to dig into the things I missed. Some expected bits in here but always one or two unique options I really enjoy. Leaking hex is cool (and could have some troubling cascade effects in certain situations).

I definitely wish, at least in sitting down to read like this, that the contents of the player packet was also in the book itself. I think PbtA has this tendency of leading to loads of pages on the table, but it can make them very easy to pick up and play or to learn as you play.

That element is definitely here, but I think the vast number of wide-ranging moves and the excitement that would drum up in my player group would more than makeup for that initial overwhelming feel of "whoa, that's a lot of papers out on the table".

Overall, it's the most I've wanted to play a game in this style in a while. I like that the base setup for the world is very much up to the players to determine via the characters they make. I like that PCs here will probably feel unlike any other folks have played before.

The community aspect feels like where I'd want to center my story around, as a player. Seeing that shift and change over time feels like it would be very rewarding and would help lean into the "the old world is dead, what do we want the new world to look like?" theme I enjoy.

Because Aaron King is cool and recently hit a lot of Twitter followers, Patchwork Worlds is now Pay-what-you-want over on Itch.

I'm not sure if physical copies are readily available. For full disclosure (guess I should have said this up front), I got this copy for free from Aaron! Not for the purposes of this thread or anything, just for fun a while back.

Thanks for reading more ramblings from me! If you like to do that sort of thing, check out my newsletter - Missives from the MeatCastle. It's got writings on my work, cool stuff I've run across the web in the last month, and exclusive rpg stuff! https://meatcastle.substack.com

#indie ttrpg #ttrpg #ttrpgs #rpg #fantasy #science fiction #pbta #powered by the apocalypse #aaron king #patchworld world #sixth edition #read through

105 notes · View notes

littledigits · 4 months

Text

thoughts on the cut episodes and ppls reactions 'n stuff

Since it was confirmed that a few more episodes of Hilda were written but cut, I do think the reaction of people finding this out is really interesting and not just because its fairly common in the industry and isint a sign of anything bad necessarily. I mean heck, in a weird way being behind the scenes and then seeing how people interpret things, what they take as important, what they think is a thread…all of that is interesting. When your job is basically trying to get people to pick up what you're putting down storywise its kind of a neat topic, because everyone communicates in their own way.

BTW before I keep going this is not a post to say dont crit/vent/complain/whatever about whatever the heck you want in hilda or any media, you do you. I think peoples honest takes are fascinating (said in victoria van gale voice) and even just people speaking their mind shows that they are interested and they care so that matters. Also not one singular post triggered this, its just been on my mind as I surface level read things so no stressies.

When It comes to the cut episodes, I'm seeing some people assume that whatever was cut would have fixed some of the crits they may have had about the season..and who knows, maybe yes? But I'd say ultimately probably not. Not because they dont include things that people want to see, or may have some topics people want expanded on ..but because thats just impossible in the grand scheme of things.

I mean this applies to shows in general, not just hilda. Every person who watches a show has their own idea of what the show represents to them. For some of its more of the surface events or characters where as others connect it with a deeper emotion. A lot of people respond to different tones of the episodes, which there are many. Some people prefer the one off adventures that stand alone as their own stories and others want to see more of a stronger through line. Some may see a new character and expect a new arc and thread, while others wonder why we couldn't've used a previously introduced character. Some may read between the lines more and others may take what is presented as very straight forward and literal …and no one is WRONG, because our big wrinkly brain meats all have their own tastes and ways of imputing information.

Television animation is rife with factors that actually futz with the quality and ability of the team to make a beautiful, amazing product like EVERY DAY. The script process and what goes into production is just one. The team is made up of many creatives all with their own varied experiences and voices just like the audience. In order for people to have their own voices and say, you are going to end up with some things that hit better then others, especially if the team is allowed to grow and experiment and play a little. Hilda has always been a show where we've been able to have a lot of creative say, and i think that sincerity comes through ! but with the sincerity and that humanity, it also means that there are going to be things that arnt going to make sense in the grand scheme of things lol. Even the writers and creators and producers have differing opinions on what to explore and dive into, probably more so then fandoms haha. Having more episodes may scratch some itches but not all, HECK, those episodes being cut could have re-allocated resources to other areas that helped elevate your fav ep of the season ¯\_(ツ)_/¯ who knows! Schrodinger's episodes! (also ngl I was having cold sweats over the scope of some of them as cool as they were. The season may have been shorter but it was intense..it takes a long time to do stuff that looks that clean and crisp)

Imperfect art is very human! Do the best you can at the time with the factors you have. I was given so much trust and freedom on my episodes, and I was just happy to do something fun that allowed me and my team to grow and learn. I was fucking STOKED to get a one off story because it was way less pressure for me to take my next step directing cuz just doing the thing is a feat. Any sincerity you feel cant come through if that means we're afraid that we cant make mistakes, or do a story choice ppl wont vibe with. All you can do is do the best you can, see if people are picking up what you're putting down, and grow from it for next time.

Anyway, just a thought ramble. Its not to say do or dont do this or think this way blah blah. I just love that storytelling is messy and complex and everyones gonna take it a lil differently, especially if you have a team where you allow lots of voices to have input. It is all just a big experiment to see if people leave with a particular experience by putting your resources into the things you have that matter, and try you best to distract from burnt edges or patched up holes that happened throughout the process of making the dang thing lol.

#me as marge simpson holding up a potato of communication #I just think they're NEAT #it is cool to see who vibes with what episodes and why #lil rambley bits #I personally strive for a good 7/10 #maybe a 7.5 if im feeling spicy #everything else is luck

66 notes · View notes

laundrybiscuits · 1 year

Note

Just curious and i like hearing your thoughts on this stuff. May i ask what aspect of steddie fanon you're referring to (which don't fit IRL queer culture so accurately)?

Ahaha...okay so. IMPORTANT NOTE: fandom is not that crucial, do whatever you want, run free through daisy fields of whatever headcanons and characterizations you please. Also, fic is not real life and that's okay!!

That being said, fandom can get slightly weird about sex, especially queer sexual cultures and especially historical queer sexual cultures. I mean, I get it! Our current hegemonic understanding of sexuality is actually pretty recent; I studied sexuality from a sociological perspective as part of my undergrad degree, focusing on moral panics (gosh I wonder why Eddie's character arc appeals to me! so mysterious!), and I know just enough to know that I don't know shit. So I certainly don't expect anyone to be doing paradigm-shifting sociohistorical research for a fic. That would be ridiculous.

All of this is leading up to say that based on 1) the relayed experiences of queer mentors who were in the scene in the 80s 2) the secondary sources I’ve researched 3) personally having many gay male friends who love oversharing through the last ~15 years, I believe that if canon-compliant gay Eddie Munson is a virgin, it’s largely by choice.

I've seen it suggested that Eddie's poor academic performance and nerdy interests would be, essentially, a dick deterrent. And like...I enjoy Eddie’s weirdo loser vibe as much as the next fan. I fully support him not being in any way smooth or cool with boys. But even when I myself was in my late teens/early twenties, many of my closest friends were awkward nerdy twinks who absolutely managed to get laid every weekend because MSM* hookup culture is eternal.

And in the early 80s, when Eddie would’ve been in his late teens, MSM hookup culture was at its peak. AIDS still wasn’t being taken that seriously, and transmission etc. wasn’t really understood because…well, you know this story. It’s not a good story. Fuck Reagan.

In short, I really can’t emphasize enough how certain types of sexual contact were extremely available for men seeking sex with men. A pretty young thing like Eddie could have literally as much sex as he wanted. Nobody is asking him for a high school transcript or anything about his hobbies, they’re asking if he tops.

Now, would Eddie actually participate in the hookup culture of the time? That's a more complicated and speculative question, and not actually what you asked, but I'm going to talk about it briefly anyway.

In the 'yes' column: he has his own vehicle**, zero supervision, and a penchant for risky behavior.

In the 'no' column: the boy has at least three extremely involved hobbies eating up his spare time and energy; he's also a not-so-secret romantic.

Personally, I can see the pseudo-intimacy appealing to Eddie's tendency to keep people at arm's length, and I think it’s very plausible for him to be curious and experimental enough to want to explore a bit. I tend to land on 'tried it a few times, doesn't make a habit of it' in my backstories. I also tend to hint at the softer, friendlier side of hookup culture in my fics, just because I don’t often see it represented.

Of course it’s like any other scene, there are bad actors and generally shitty people/situations, and sometimes the MSM scene specifically can be a bit of a soul-draining meat market. (ETA, because I am not white and neither are the vast majority of my friends and I felt increasingly weird not mentioning it even though it's not relevant to Eddie's situation: the scene is often also super racist, among other things! But that's a whooole other complicated kettle of fish, and again, not relevant to Eddie's situation.)

But there’s also space for casual sex to be part of a friendly relationship, in a way that I don’t really see in hetero circles. It’s hard to explain. It’s one of those dynamics that basically never shows up in mainstream media at all, so I absolutely don’t blame fics that don’t show it either. It’s just one of those things.

This is a step to the left, but I recommend checking out Dykes To Watch Out For: it’s practically an anthropological document depicting dyke culture in the 80s, it’s often funny as hell, and it’s just a fantastically detailed and relatively accessible window into a particular way of life that doesn’t really exist anymore.

*MSM = men who have sex with men. It’s a sociological designation; not everyone in this category identifies as gay, bi, queer, etc. It may be useful to think about sexuality as having three distinct components: behavior, identity, and desire. The term “MSM” puts focus on the behavioral aspect, because it’s most relevant in this context.

**As someone who has experienced several other countries' driving cultures, I just want to emphasize to non-Americans how willing many Americans are to drive for multiple hours for basically any reason whatsoever.

#askbox #GOD this got long #I will absolutely delete this and go on a blocking spree with zero notice if it sparks any discourse whatsoever #I'm not even tagging it as meta #I just get so freaking paranoid when talking about sex/sexuality publicly on this hellsite #ETA new tag:#ST meta for TS

205 notes · View notes

gabichanwrites · 4 months

Text

I've seen an opinion about JJK that the story needs so much pointless death and unrealized potential because it is the point. That this is the world of JJK, cruel and killing off potential because of higher-ups indifference and carelessness with sorcerer's lives. That Gege did a brave thing by stepping out of the line of a typical shouen plot and made his characters suffer and die and pointed out the ridiculousness of adults making children fight for them.

And to all of that I say - I get it. But also I don't agree.

There is a significant difference between the potential in-universe and the potential of the characters. Sure, they overlap a lot, especially in series like JJK, but there is a difference. For example, both the characters and us have been thrilled with the unspoken potential of Megumi's "sacred treasure" and I'm pretty sure every single one of us went wild when he made his half-baked domain in S1. Also, he got Sukuna as his hypeman - it's hard to really top that in terms of potential. But when I say character potential, I don't mean only power scaling one - I mean what they could do in a story. And one of the best examples for me are The Twins. You know, the ones that try to bargain with Sukuna to kill off the Fake-Getou. And the quite pointless death of BOTH of them.

Their techniques personally interest me a lot but it's not even about that. Even if there is not that much space to explore with them cursed technique-wise, wouldn't it be so interesting if one of them got to live? Betrayed by every curse she turned for help to, alone in a raging Shibuya - forced to work with the School Gang? With their very differing opinions, with her wildly different perspective... Man, I'm not that good of a writer to figure it out on a fly. But there was potential there, a very interesting one, and wasting it isn't the nail on the coffin for Gege's story - but it does disappoint me, considering how hyped the story was for me beforehand. How much trust I put into Gege's writing.

And with the way things are going with Nanami, Nobara and, from what I've gathered from my partner's ashamed face when I mentioned my suspicions, Todou, this is no longer about power potential the characters had (although with Nobara it kinda still is). It's about how those deaths are hidden behind the smoke screen of theme and well, that's the cruelty of the world that tries to hide the balant shock-value of these deaths. Because back in season 1 Gojo already said it - that he knows killing higher-ups won't really solve anything. That it's about a new generation doing better, forcing a change others reject.

So why isn't this story about that? Why does it kill off THREE (?) characters for the sake of kicking Yuuji into dirt? Why does Mahito even require so many named deaths to establish... What exactly? That he's fucked up and immoral and direct opposite of Yuuji? That he can bring out the worst in him? I THINK I GOT THE POINT AFTER JUNPEI AND NANAMI, REALLY.

So, with the spoilers I have from the manga, I just feel like it's not quite right to call those deaths deserved because of the setting. Not when the story in S1 promised a change, a hopeful future set by the new generation.

And if that were never the main focus of the series, then I don't want to hear a single world about those deaths contributing to it because they are not.

Man, there is no one who wants to love JJK more than me and there is no one more heartbroken that I can't bring myself to do so anymore.

#jujutsu no kaisen #jjk #i mean i haven't read it but ive been spiiled and i talk about it #jujutsu no kaisen manga spoilers #jjk nanami #nanami kento #kugisaki nobara #aoi todo #itadori yuuji #mahito #jjk critical #unfortunately i'm not over it #and twitter does not help #what a surprise

48 notes · View notes