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felikatze · 6 months

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ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

#feli speaks #in stars and time #isat #isat spoilers #lays down on floor. it's done. it's done #i actually narrowed down in scope to just focus on the combat by the way. and this is like. several thousand words

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moondirti · 2 months

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due to popular demand, a follow up to this featuring: 18+ content, gaz, ballerina!reader, internet stalking, men being gross, another a thinly veiled character study

Kyle is a good man.

Granted, his metric is not attuned to common standards for morality anymore, nor has it been that way since basic. He's sure that if he were to pick any sheltered samaritan off the street to read out his laundry list of transgressions, they'd balk at the fact that their taxes go to keeping him fed. They'd rather their image of the army stay unsullied and ideal. They'd rather keep him at arms length with a thank you for your service and not confront the blood caked beneath his fingernails.

But he can no longer be held to their degree. No longer exists within these spaces. No. Kyle – or Gaz, if one were to go off of what he's called most often nowadays – is a doorstop. A pestle. Something inconspicuous, obscure, that serves the sole function of making life easier for everyone but itself. And he assumes this role with a handful of others who have nothing else to live for, exiled to crowd the back of Foxhounds and kill at a moment's notice. Foul men. Friends.

If someone were to line up every operative on a special forces unit, or better yet collect the likes of the 141 and asses each for their moral standing, Gaz can rest knowing he'd come out on top. He's not yet as far gone as they are; can enjoy a night out or a pretty bird writhing underneath him without wanting to choke her out. Only devoted to his captain, or the others, to the extent that their professional relationship calls for (no matter how much it itches at him to watch Ghost take care of Soap, or to reject Price when he offers him a drink).

Sure, he laughs at their jokes. Might pitch in when they're swapping stories of their filthiest catch, Soap rattling on about the lass who'd stuffed her tongue up his arse, or encourage them to shoot on sight if they spot a potential threat, civilian or otherwise. Yet the difference is this: when he goes home, he can stuff that all away.

Knows not to let it infest the boundaries of the real world. Off deployment, his comrades play pretend at the noncombatant lifestyle, but the guise is ill-fitting. They're too big for their skin. They stretch and tear at the conventions holding them in place, like feral dogs made to heel. Kyle doesn't have to be tamed. He's still functional, familiar with the expectations held of him. Can submit to integrity more easily than most.

Kyle is a good man.

And that's what he tells himself as he returns home, train car completely void of anyone but himself. He's good for having given you up. He's good for not have followed you home. There'd been a brief lapse of judgement, but he's good for doing something about it before things passed the point of no return.

You've lived this far without his protection, he reasons. Yet it doesn't change the unreachable itch, closed away in a supposedly locked box. Gaz. Or, his captain's voice, cigar-smoked and advisory.

But why should you continue like that.

It's hard to fall asleep that night.

He's sick with worry wondering if you ever got home, bile broiling and distending up his throat at the thought of having abandoned you. It's pure concern that compels him to find your socials, really. Kyle is only searching for an update, or recent post, indicating that you're alive.

With nothing to go off of but a face, he searches for dance studios in both Acton Town, your area, and the Kensington, the area where you'd boarded the tube from. He makes a shortlist of the most reputable ones (your attire seemed to imply that you were a seasoned ballerina) and cross-checks them as hosts of upcoming recitals. Two renditions of Swan Lake and a production of Giselle turn up, each with their very own cast lists. Thus begins a tireless search of every name credited.

His heart almost leaps out of his nose when you eventually load into view, then plummets at how easy you'd been to find.

Your vulnerability only sets Kyle's conviction in stone. Bloody good thing he's got your best interests in mind.

Locked twitter, a LinkedIn, and a public Instagram page which sends his blood pressure skyrocketing after checking your follower count. Popular. And of course he can see why. Over a hundred posts chronicling bright smiles and flattering outfits. You mainly use the account to promote your practice, though; feed full of skimpy little outfits, leotards and exposed sternums and impossible poses.

Stop it. He's here for something specific.

Kyle sips in a deep breath, scrolls back to the top of your page, clicks on your most recent post. A casual video of your leg raised on a barre while your friend counts how high above your previous record you're able to stretch. Your skin is sweat-slicked. Your mouth is thrown open in a half-laugh, half-pant. He almost forgets why he clicked on it in the first place, before the timestamp catches his eye.

30 minutes ago.

So, you'd gotten home.

He can go to bed now.

Exit your account. Swipe up on Instagram to clear it from his running apps. If he's extra disciplined, he'd block you. Rob himself of the temptation to tug himself over the photo of you in the splits.

Kyle is a good man because he knows his limits.

(But Kyle now also knows the address of your studio. That, even if he blocks you, it'll take up space in his chest. A ticking-time bomb. A knowledge that'll haunt him whenever he's on the District, Circle, or Piccadilly lines, and the train announces Gloucester Road. A force, a stone in his throat, that'll grow so large it'll force him to stand up and disembark, to walk until he's standing right outside and wait on you to wrap up rehearsal.)

It occurs to him that the point of no return has long since passed.

inclusivity note: i felt the need to say that, while reader is a dancer, her profession is not meant to imply anything about her body type. flexibility and agility are not limited to thin builds, and while the ballet industry can be very toxic, i've seen my fair share of spaces where all figures are embraced and success is determined only by ability!

#ooo i love him a little delusional actually #kyle 'gaz' garrick x reader #gaz x reader #kyle gaz garrick #kyle 'gaz' garrick #gaz #kyle garrick #gaz garrick #cod #call of duty #x reader #x afab reader #tw stalking

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googiekitsch · 4 months

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I AM BEYOND EXCITED TO PRESENT TO YOU MY FIRST EVER WEBCOMIC, TOYHOSPITAL!

WHAT IS IT?! To keep it short, it's a Christmas-centric comedy horror comic - with more of an emphasis on the horror part of that. Believe me, there's no shortage of blood and guts and horrific body horror in this, and though there's jokes and the occasional bit here and there, it gets very dark, very quickly!

More specifically, it's about a version of the North Pole where Santa (or, as he's referred to as in-universe, Father Christmas) encounters a shortage of workers. So, instead of having the elves make the toys, he decides to open up an isolated, ominous segment of his workshop dedicated to turn the adults on the naughty list into toys by brutally transmorgifying them. He does this by employing the use of a disease fittingly dubbed Toyetic Syndrome, which has the ability to turn living matter into toys - albeit slowly as the science behind it is still pretty experimental. This establishment is called the Toyhospital - but it has a duplicitous veneer to it as to not raise suspicion from Father Christmas' wider community of workers. To most of the elves, they know the Toyhospital as it's much less prominent side - a toy repair shop where toys from all over the world are sent in and fixed. This side has been internally dubbed as the 'nice' side, while the real, actual hospital side of the Toyhospital is dubbed internally as the 'naughty' side.

The most evil, vile, or easy to manipulate elves and holiday creatures are in employ at the 'naughty' side of the Toyhospital, and they tend to be pretty relentless to those unlucky enough to end up as 'patients'. Fortunately (or unfortunately if you find yourself taking sympathy on them) the Toyetic Syndrome affects them, too. They're staffed there to basically prolong the patient population's suffering as long as possible, be that through physical or psychological methods. The thing is that Toyetic Syndrome is such a biohazard that everyone in there is locked in for the public's safety, making escape near impossible.

SO WHEN'S IT COMING OUT??? Uh! Sometime in the near future! No exact date yet. It's still getting it's footing established for now so nothing official will come out for a while. I've still got a lot of work to go through to get this thing out there, but all the main character designs that you see here have been finalized and the concept's tight enough where I feel comfortable presenting it in a loose form like this, so here you go! I've still got some characters I'm withholding for the story's sake, but these are the main players.

On the topic of these guys, let's get into the characters! (info about them below the cut)

CINNAMON is one of the protagonists of Toyhospital alongside IAN! He's your traditional cheerful, tooth-rottingly adorable Christmas elf. He used to work at the 'nice' side of the Toyhospital before his curiosity over the building's unusual floorplan led him into the 'naughty' side of the building. He got locked in, and he's looking for a way out. He's also infected with Toyetic Syndrome - albeit a much less outwardly harmful version of it that manifests in him becoming a cute, cuddly plush worm - but he's still desperately seeking a cure for his ailment before things have the chance to get ugly. Naturally, raised in an environment of pure sugary happiness and then suddenly getting thrusted into a hellhole of blood and disembowelment, Cinnamon is utterly terrified. Despite his horrified state, Cinnamon always approaches situations with a pacifistic, 'understanding everyone' mindset and is more than willing to give others second chances even if they don't really deserve his kindness.

WHITTAKER is the Toyhospital's dentist! He has an extreme aversion to seeing others discontent and will do anything to make them smile, physically altering their faces to get them to do so. He's prone to laughing fits, often interrupting himself mid-sentence to burst out giggling at nothing. Though he seems driven to achieving his goal of making every person in the Toyhospital 'happy', the guy doesn't actually seem all that...lucid. He tends to seem kind of 'out of it' a lot. Disconcertingly a lot, in fact. Sometimes, though, he can have brief moments where he snaps out of whatever funk he's in; and when he's not being giddy, Whittaker is surprisingly critical of those around him, most notably his other coworkers. While some of his criticisms towards others are as petty as them not smiling enough or having bad posture, a lot of them are troublingly grounded and more centered around the morality of what they do to others.

PEPPERMINT is Toyhospital's clown! But they're not all that good at it. Peppermint mainly just sees the whole 'clowning' gig as another stepping stone towards the real career they want for themselves - that being in Broadway musical theater. His dreams aren’t exactly accommodating of others, and he’s always had a tendency to put others down to elevate himself. Now that he’s employed by the Toyhospital, that immature, egotistical behavior has fostered into something downright dangerous. He has no regard for the lives of others, being totally apathetic if people around him die to the point where he has no qualms with hurting others himself if it can benefit him in some way. When they’re not dramatically complaining about others, they’re definitely gloating about themselves. Even at their worst points, their actions are still reflective of their love of performance, and their mannerisms are appropriately incredibly theatrical.

PHONESLEY is the receptionist! Phonesley is certainly an odd character to come across. The guy’s super unsettling, he has a tone that’s a bit too cheery and a bit too jovial considering how gruesome his workplace is - and that’s completely overlooking whatever’s going on with his organs, which he seems to be completely oblivious to. He’s really absentminded and has a tendency to lose track of what he’s doing and drools excessively. There’s a lot of mystery that surrounds Phonesley, from occasional slips mid-conversation that imply that he knows more than he lets on, to his questionable familiarity when it comes to elf culture and just the overall way the North Pole functions despite being employed by them. Who knows, if you stick around him for long enough, you might just happen to hear him rattle on about a few conspiracy theories of his….

SNOWBALL is the nurse, and perhaps the nicest person you'll come across working in the Toyhospital! They seem like a complete sweetiepie who loves rainbow and glitter and just wants to make sure everyone's taken care of. Although, that niceness of theirs is a double-edged sword. While they can seem like a saving grace when you first encounter them, come to spend enough time around them and you'll realize that they're actually suffocatingly overprotective and possessive. Snowball loves toys, and to them, turning naughty people into toys is a complete universal good. They'll do anything they can to speed up the process of that, and they always seem to keep a few patients for themselves so they can 'care' for them. Snowball's niceness melts away once someone even hints at leaving their care, as they'll quickly become enraged at the mere thought of being left behind.

BALTHAZAR is the head surgeon - the brains of the operation, one could say. She was put in charge by Father Christmas himself, and it's easy to see why she would be heading something like this. Balthazar has an undying, burning, festering hatred for naughty individuals. She seems to believe in a grand conspiracy that somehow, anyone on the naughty list is responsible for ruining her life and turning her into what she is now. Needless to say, she does not hold back when it comes to punishing those she believes to be in the wrong. For an idea of what her punishments look like, her favorite among them is to cut a person's legs off and watch as they bleed out and die in the struggle to escape her wrath. Even most of her own staff is terrified of her, as she's always insisting they be more brutal with their punishments, even when they're already being as relentless as physically possible. Her hatred for naughty people makes trying to reason with her completely futile. While most people view her as a cutthroat force of terror, the very few among her staff that are close to her have nothing but good things to say about their boss. Strangely enough, these few tend to describe her like she's some sweet, misunderstood person - a complete juxtaposition to how she actually is.

BEAU is the plastic surgeon of the Toyhospital! She's completely obsessed with being the 'it' girl, having modified her own body to be utterly unrecognizable from the elf she used to be - much more resembling a human than an elf in her current state. She viewed every part of herself as flawed, and now that she's become 'perfect' in her eyes, she now projects that former self-hatred for herself onto others. It goes without saying that Beau is an incredibly judgemental and self-centered person. She preforms unnecessary surgeries on others, not just to inherently improve them, but purely because she, personally, takes issue with the very way they look. She's very talkative, and with the amount of dirt she has on other people, has a habit of just letting their secrets slip randomly. Her entire persona of being a cool, collected, perfect girl completely falls apart once someone mentions a perceived flaw about her - at which point she'll either become violent towards them or become obsessed with fixing whatever's 'wrong' with her.

CHILLBLAIN is the hospital's mortician! Unlike the others among the staff, she isn't an elf or even a human - she's a snowperson, one who's incredibly intent on tormenting humanity for how they've treated her kind like disposable holiday novelties. And though her job has to do with laying the dead to rest, she's not all too keen on that. She is, perhaps, the most cruel individual to walk the Toyhospital's halls, as she's not even insistent on punishing people via infecting them with the Toyetic Syndrome. She dishes out a far worse fate. She's incredibly fond of heat torture, melting people down into puddles of flesh and blood and keeping them alive just to hear them writhe around and scream in agony. She refuses to let any of her patients die, instead locking them away in the mortuary ward and taking them out when she feels like having a little bit of 'fun' with them. She's much more cunning, clever, and for lack of a better word, cold than her peers are. There's a certain eeriness that surrounds her. 'Sadistic' is just about the best word there is to describe her.

and last but not least, there's IAN! Ian is the protagonist of Toyhospital, with Cinnamon accompanying him on his travels throughout the complex. Unlike the other patients, Ian ended up in the Toyhospital by pure mistake. He was on the naughty list as a kid, but throughout the years he's matured as a person through a lot of self-reflection and therapy and has far since outgrown his 'problem child' status. He's just here because of an issue in the naughty-nice list sorting system that sorted him into the naughty list. His main motivation is to get out of this place and sue whoever's behind it.. He's a very rational person and tries to comprehend everything that's going on from a logical perspective even if he's completely out of his element in this strange, magical world. He has no patience for the people behind this operation or whatever motivations they might have, he just wants his freedom. He has a tendency to lose composure whenever things get stressful, a facet of himself he's not too proud of. On the inside, he's very afraid of regressing back into the person he used to be before he went down his path of self-improvement - and fears his time in the Toyhospital may just be his breaking point.

#toyhospital #my art #character design #art #character art #oc #horror #cartoon

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revvethasmythh · 11 months

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Reminded again, as I periodically am, that there's a fair number of people in the fandom that think of Nott the Brave and Veth Brenatto as two different characters, and not fundamentally the same woman. In the absolute literal sense, this is false: Nott the Brave, returned to the body of her choice and using her real name once again, is absolutely precisely the same person she was before Caleb cast Transmogrification on her. This is, incidentally, one of her main sources of angst towards the end of the campaign! A part of Nott must have both feared (and, in some ways, hoped) that when she was changed back into a halfling, she would also be a different person. That the person she became traveling with the Nein would be an easy identity to shed, which she may have hoped for because it would be easier to fit herself back into her home life with Yeza and Luc--and because it would be easier to say goodbye to the Nein if that were the case. And she feared it because she liked this person she became, no matter how transgressive society would label her for it. And she loved the Nein and didn't want those feelings to be altered.

But she didn't change. Veth Brenatto is Nott the Brave and Nott the Brave is Veth Brenatto. This was always the point. That's why it's an anagram. It's just that when she's Veth Brenatto again, she is much more focused on the why of what she's doing. Why am I still with the Nein? Why am I still adventuring? Why do I have this reticence to return home to my family? Why don't I long for that quiet, domestic life the way I once did? Her emotional journey becomes intensely personal, sometimes subtly/quietly told, and wholly about what kind of future she wants for herself and how her choice could affect those around her. Her two families become anchor points pulling her in different directions and she has to deal with that. Which is a different story than what she was telling when she was still Nott the Brave. Nott's story was much simpler--I am a goblin and I hate it and I would like to be a halfling again. I would like to be able to be with my family again. It's straightforward and it's achieved! But that's not where it ends, because she still needs to figure out a real, functional future for herself once her goal has been achieved.

All this to say, I think when people say they prefer Nott over Veth, it's important to remember that you are reacting to a certain story arc for the character, not an entirely different character. It may also pay to ask yourselves why you think they're so different. Was "Nott" funnier than "Veth" to you? Does her ability to serve as comic relief fundamentally change whether you like her or not? Did you appreciate "Nott's" themes more than "Veth's"? Or did you even notice the themes being explored in Veth's later game at all?

#i'm approaching this in a two pronged way #1. gently trying to point out that they're literally the same person so you're reacting to a change in character arc not character itself #2. desperately trying not to be too much of a bitch about how reductive i think the idea of nott and veth being different fucking is #anyway veth's later game arc is so angsty and sexy it's literally a shame people don't appreciate that about it #veth brenatto #critical role #the mighty nein #nott the brave #yeah why not i'll tag them like they're two separate people. for shits and giggles i guess

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frickfatphobes · 4 months

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"Well, I don't have fat characters in my apocalypse story because they're all fit from running for their lives constantly."

"If there was some kind of purge in a sci-fi world, all the fat people would die first."

"They don't have anything to eat because all the food has been poisoned from radiation, so they can't be fat."

It's really not an excuse. No, all humans wouldn't quickly drop a hundred pounds even if they ran a few miles every day. No, fat people aren't automatically stupid and slow, so they would still exist if robots or zombies took over the world. And no, you aren't guaranteed to get thinner even if you are starving to death.

If running like your life depended on it made you drop a dangerous amount of weight, I promise science would have latched onto that for fatphobic reasons by now.

There are fat people who have won Olympic medals for running and many other sports before, we just don't see them on TV or in the news because people don't like "glorifying ob*sity."

Fat people have died of starvation before they're gotten thin before. There are so many things that will permanently shut down in your body before you drop hundreds of pounds of fat, due to lack of crucial nutrients. You can simultaneously be fat and starve to death.

So when you write fiction in a fantasy or sci-fi setting, make good, smart, fast, non-fatphobic fat characters. I'm not saying your whole cast has to be fat, but haven't we gone long enough seeing nothing but thin characters in our action adventure stories?

Representation matters more than most people might think.

#fat liberation #fat positivity #fatphobia

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aroaceleovaldez · 5 days

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i know a lot of people talk about the Cupid Scene as not being great as Nico's coming out story (which i think is a complex matter but that's a rant for another day), but I personally find it way more compelling if it's just not Nico's coming out story at all - it's the beginning of Jason's.

Because it doesn't really work or make sense to be Nico's, right? It's not Nico's pov. Nico doesn't have a POV at all in this book. And in House of Hades, the Cupid Scene is one of the first major things Nico gets to do right out of the box jar. Why introduce a character, have him be outed as gay, lead the crew around, and then leave to go travel with someone else all in one book where he's not even a POV? It's also contrary to the way Nico generally functions as a character - he's either exposition, dues ex machina, or damsel in distress. He's kind of a damsel here, but ultimately he doesn't need anyone else to save him - or even be there. He handles it on his own. Jason is mostly just a witness.

But, if you view the Cupid Scene as being about Jason, it narratively fits a lot more; Jason at this point is dating Piper, and they're three books deep into their relationship. TLH they start dating and are relatively happy with it and where they are. SoN is a skip but we know they're happily dating during that time, and then Mark of Athena we get a slight shift. Jason and Piper see Percy and Annabeth and go "Oh! They're perfect. Their relationship is perfect. We could be happier if we were more like them." Piper and Jason are also both characters who go through an identity turmoil in general - particularly about how both of them want to be perceived by others and who they are as people. The things they identify with - their parents, their heritages, etc etc. Their orientations. Piper's get more focus earlier in HoO, and Jason gets more later.

The Cupid Scene is from Jason's POV, in a book where he is beginning to struggle with his identity and what people expect from him - particularly him not feeling like he perfectly fits with "either camp." He's too "Greek" to be "Roman" but too "Roman" to be "Greek." He's not quite one or the other. He doesn't meet the expectations either has for him. (This is bi-coding, if you couldn't tell. Just replace "Greek" and "Roman" with "Straight" and "Gay.") It starts with Cupid addressing Jason first, before Nico, very directly - asking him if he's so sure he's happy in his relationship? Does he really think it's perfect? Even Favonius very pointedly asks him if he really forget that guys can date guys? Do you have some internalized bias around that, Jason? Hm? Heck, they're both specifically in their Roman forms, not Greek. Why would they appear in their Roman forms if they're there for a Greek demigod? And very notably, they have this exchange:

(remember what I said about the bi-coding with Jason's Greek/Roman identity crisis? I don't think it's coincidence that this so pointedly comes up during the Cupid scene.)

Favonius' introduction to the Cupid scene sets up Nico's portion of it, but Cupid almost exclusively speaks to Jason for the first half of it. Then Nico steps in. He diverts the conversation away from Jason and focuses the attention onto him. Nico's the one Cupid wants, he insists, not Jason. He's the target, not Jason. This is very in line with Nico's character - practically one of his core character traits is he trusts and starts caring about people very quickly, probably quicker than he should or even wants to, and will put himself in harm's way to prevent others from being hurt. The Cupid Scene isn't the start of Nico's coming out story - Nico already knows he's gay. He has no internal doubts about that. He's known it for awhile. He's just in the closet. And he starts coming out of his own free will in the next book, first to Reyna and Coach. The Cupid Scene is Nico recognizing that Favonius and Cupid are pushing Jason for something he's not ready for and hasn't figured out yet, but something Nico has and just hasn't said out loud yet. The Cupid Scene is Nico taking the proverbial bullet/literal arrow for Jason (Jason consistently describes the arrows as whizzing by him before striking near Nico, interestingly) and being outed so Jason isn't. And that presents Jason with the path to begin questioning his identity further. (Jason also then directly compares Cupid to Aphrodite, specifically her Greek form, which also ties into Jason's greek/roman stuff.)

And I don't think it's coincidence that Jason and Nico mirror each other so much, and that their arcs in HoH are so intertwined. The Cupid Scene functionally, on a meta level, establishes an explicitly queer character to parallel Jason and for him to bounce off of during his own arc. (And, also on a meta level, establishes to the audience to be sympathetic to queer struggles, with Jason's arc then proceeding to be a queer-coded struggle.) Jason is presented as having this strange level of isolation from how others perceive him in a positive way/the expectations people have of him that wraps around to something akin to Nico's ostracization as being an outsider and atypical demigod in general. Nico is a rouge - he explicitly expresses how he feels like he doesn't fit in at either camp (something he expresses explicitly during the Cupid Scene, mirroring Jason's simultaneous questioning his own place at Camp Jupiter) and a core part of his character is that he does function outside the rules and expectations of both camps. He operates on an entirely different realm to them. If the camps are an expectation of normative concepts of acceptable relationships, Nico is outside of that. And he recognizes that he operates outside of that and will never fully fit into the mold either expect of him, and he recognizes he doesn't need to fit in, even if he theoretically could force himself to fit that mold. Jason, meanwhile, is still locked within those boundaries, and grappling with this idea of how he can exist between them.

Nico hands Jason a goblet of poison and says "how much do you trust me?" and it's Nico challenging Jason to take his own advice about trusting others about their identities, and almost immediately after that Jason gives up his praetor title to Frank. Jason's Greek/Roman arc is directly tied to Nico and the Cupid scene. BoO ends with Jason asking Nico to stay at CHB so they can hang out that summer. By TOA, we learn that Nico has started dating and is staying at CHB (is exploring the niche of expected and socially accepted relationships) while Jason has broken up with Piper and is living away from both camps (rejecting hetero/allonormative expectations), still struggling with his own identity. They functionally swap places. And that's fascinating.

Anyways i think about Jason's bi-coding a lot.

#pjo #riordanverse #jason grace #nico di angelo #hoo #heroes of olympus #meta #analysis #long post //#HAPPY PRIDE MONTH. JASON BI-CODING MINI-ESSAY BE UPON YE.

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dduane · 3 months

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I just wanted to tell you, I came across your name in a book group - someone suggested your young wizard series as something to check out if one had enjoyed Harry Potter. I didn't have any expectations going in aside from the general 'kid discovers magic is real', and I started to read last night before bed. I woke up 3 hours ago and immediately grabbed the book, and mainlined it like a junkie. I'm going to the library today to get the rest of the series. I am 43 years old, I've never written a letter to an author before, but I just had to tell you - I think your story is amazing. I loved everything about it - you followed the rules of the universe that you built, and because of that, I was able to stay in the story right alongside Nita and Kit. It is *rare* that I don't get bumped out of a book when it breaks its own universal rules - the only other ones I can think of are the Fellowship of the Ring series and the Broken Earth trilogy. Anyway, I'll stop rambling, but I just wanted you to know that your writing is incredible, and you are now on my 'recommend this author' list. Thank you for sharing your gift with us.

And thank you so much for letting me know! It's always good to hear I'm getting the job done. :)

As for the "rules" thing: I belong to one of the schools of (fantasy) writing that leans hard into the idea of limitation being key in both making things seem feel more real for your reader, and assisting them in fully grounding themselves in the story you're trying to tell them. (I just typoed that as "sell them", but that works too.)

Life is full of limitations: things you want but can't have, conditions there's no way to change but you wish you could. Without the ubiquitous reality of gravity underlying them, dreams of flying aren't worth much. So to feel real—at least from where I'm sitting—magic, to fit in, needs rules: things it can do, things it can't. The tension between those two states (and on the characters caught between them) will be a potent driver of both plot and character development. And with my eye on the drama both of those rely on, I have zero time for the "wave your wand and shit happens" approach to magic in fantasy worldbuilding. That generally strikes me as both lazy and boring.

Then once the rules have been set up, it seems to me, the writer needs to stay in them and not casually screw around with the structure... any more than gravity will let (nonwizardly) people screw around with it, no matter how much trouble they're in. Here, consistency really matters. To break the rules on a whim is to betray the reader... which is not a nice thing to do.

Anyway: I'm glad this approach is working for you so far. That said: the underlying magic system in the Young Wizards universe reveals more of its complexities as the series goes on. I'm hoping those books will work for you too.

#So You Want To Be A Wizard #Young Wizards #Young Wizards meta #magic systems #and #rules

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morallyinept · 1 month

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🌷 Who's up for a creative challenge? 🌷

If it's not apparent already, I love flowers and I love the Pedro Boys! So, what could be more fun than combining the Pedro Boys and flowers in a creative challenge? 🌷🪻🌻

Perhaps Marcus brings you flowers on date night, Dave's scattered sumptuous petals leading you up to bed, you and Ezra get stranded on a planet with alien-esque florals, or you're showering sweet Javi G with his favourite blooms for his birthday... 🌷🪻🌻

Running during the month of May, I challenge you to write and share a fic - or fics - featuring any of the Pedro Boys and flowers. 🪻

You can also make mood boards or art if you're not a writer - or don't want to write - but still want to participate! 🌷

🌻 See below for the full challenge details! 👇🏻

The challenge deets:

Must feature at least one Pedro Boy - can be any character Pedro has played, no matter how popular. You can feature more than one Pedro Boy too, if you like.

Must contain flowers or plants in some capacity. 🌷🪻🌻 Can be the main feature of your story, or a background aesthetic. Florals, plants, succulents - you name it, you can feature any of them!

Can be as smutty or fluffy as you want! Hot, soft, gentle, fun, quirky - you've got freedom on whether you wanna write smut or not.

No word limit - you write as many words as you see fit.

Any Reader type! You can write in X Reader, original character or just the Pedro Boys engaging with one another. Any gender/race/size or physical ability of Reader is absolutely welcome too! 🌈 This is an inclusive house! 🙌🏻

Mood boards, video edits and original artwork is also welcome - but must feature a Pedro Boy and flowers, and must be your own creation.

No limit to the number of submissions - you can write more than one fic, or submit more than one artwork, but the Pedro Boys must be different for each submission.

Tag me in your work and use the #jettsflora&faunachallenge so I can add it to a Masterlist.

This challenge will run from 1st May - 31st May 2024 and I'll add works as they're posted.

☝🏻 Don't worry too much if you miss the deadline, life happens, and you'll still be able to submit your fic/art after the deadline. Just let me know. 🌷🪻🌻

A-Z of Flowers Database Look up your flowers 🌷🪻🌻

I hope you'll participate and have fun & I can't wait to see what you'll come up with! Would really appreciate a signal boost too - thankies 🖤

#pedro pascal #pedro pascal characters #pedro pascal fandom #jettsflora&faunachallenge #writing challenge

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snivyartjpeg · 12 days

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Yuma Month Day 26 - Role Swap

god i was excited for this one. it first started off as a joke, but the more i thought about it, the more interesting this swap became. so here's my massive lore dump of changes that'd happen in the story beneath the cut (spoiler warning):

i think, fundamentally, yuma and yakou are very similar characters. they're both very protective and kindhearted, with a strong sense of justice and a penchant for attracting terrible luck. because of this, some things would remain the same, such as the NDA's dynamics with their doormat chief as well amnesia!yakou's massive unpaid intern energy. i think yakou would be pretty similar to how he behaved in the light novel- a bit more optimistic and naive, like yuma. but there are two key differences between them that'd make this a different story, especially in ch 4: yuma has a forte, and yakou is very selfish. so here's some changes:

yakou's wife is his shinigami now, as you can see, while shinigami is yuma's dead wife. i think mrs furio would act cooler than shinigami. she'd still be playful, but she takes her job more seriously. also she hands yakou the solution keys normally without throwing up. they still have to do the dance and mouth sword thing tho. and the other stuff. that's just death god protocol

shinigami (or in this case the unnamed Mrs. Kokohead but i will still be calling her shinigami for convenience sake) was a scientist at amaterasu who studied forensics and thanatology instead of regenerative medicine. this also means that the pill she gives zombie yuma is not going to bring him back, but instead grant the zombie homunculi a peaceful, painless, but permanent death

speaking of zombie yuma, he's the homunculus now! yakou is 100% human and also doesnt have a forte. he's still number one, but instead of having a forte he's just that good at solving mysteries

yes this means makoto looks like yakou now. sorry makotoheads. i think he'd have really long, shaggy hair dyed to be like. idk. black or something. also he's more clean shaven bc stubble with a mask on is a sensory nightmare

yuma still cant cook. he subsists entirely on takeout, meat buns, black coffee, and beer. he's still in a lot of debt and under a lot of stress and his personality is essentially "what if canon number one just gave up"

he doesn't smoke though. he tried once and got into the worst coughing fit

imma say it right now. kurumi is not a love interest. yakou likely disguises himself as a faculty member instead (also i think one of the teachers gets a crush on fem yakou bc i just know she'd be hot)

ANYWAY what about chapter 4? im SO glad you asked! because here's where things get spicy!

so, lets start with the dead wife. shinigami catches onto huesca's inhumane research and she's just as adamant about bringing the truth to light as she always is. she blows the whistle, so he blows her up. yuma investigates, but they dont let him look any further, yada yada, yuma stews in his misery for five years

yomi sends in the evidence to motivate yuma to kill huesca, and makoto lets it happen because a dead huesca would be convenient. he even introduces the hitman, fully expecting yuma to make use of him

yuma doesnt. in fact, he wants to kill huesca with his own hands. and now that these detectives are here, he can do it and even return alive. the thing is, he doesn't want to put them in danger, so he chooses to do almost everything alone (sound familiar?)

his plan is simple:

ask desuhiko for a peacekeeper uniform. desuhiko trusts him enough to take "i want to investigate kanai ward's ultimate secret by infiltrating their ranks" as an answer. he does, however, let yakou know about this as an offhand comment before the mystery ever begins

hold fubuki's hand. it doesnt really matter how. she'll gladly allow it because she's fubuki. he stores her time powers and heads out the sub. yakou also learns this as an offhand comment played off as a joke (maybe fubuki affectionately comments about how she never expected the chief's hands to be so soft... idk. there has to be some way for yakou to have this as a future clue)

use his peacekeeper status to sneak into amaterasu HQ and demand a functioning ama-pal from that one creepy researcher

use ama-pal + fubuki's borrowed powers to bypass huesca's security. sneak the bot past the hard-of-hearing doctor and press the button to shut off security

this would probably alert huesca, but since the doctor never received a warning, yuma has enough time to rush in and stab him before he realizes what's going on

leave HQ while still in uniform, dispose of the disguise once he's safe, and return to the NDA like nothing happened. success!

soooo.... yakou, on that same day, decides to investigate amaterasu HQ with makoto

all the while, vivia has his suspicions about yuma's actions and keeps an eye on him in spectral mode. he... basically witnessed the whole thing, so he gets up off his ass and decides to follow yakou to the lab because he has a Very Bad Feeling about this

just like canon, he senses the death god and deduces that our protag has been killing off murderers, and so he wants to protect his chief as well as his peace and quiet (his dynamic with yuma would be the same as his dynamic with yakou, since it's entirely believable for yuma to treat vivia with the same kindness yakou did)

yakou tries to speak to huesca, but surprise! security is disabled and he's dead in the lab! no one else at amaterasu liked huesca enough to check on him, so yakou and makoto are the first ones at the scene of the crime. yakou, of course, decides to start investigating this murder

vivia somehow sneaks into the lab (dont ask me how) and confronts yakou, threatening him with his boxcutter and adamantly imploring him to stop pursuing this particular mystery in the same way he did yuma in canon. unfortunately, this attracts attention, and now they're in trouble (maybe even yomi's there to fetch his files). at this point, yakou has enough solution keys, so he panics and goes right into the labyrinth (and maybe others can enter for another reason that isnt coalescence idk)

so... they go in the labyrinth... vivia tries to stop him every step of the way, until the answer is right in front of them

yakou kills yuma with his own hands. there's no stab wounds or toxic gas to leave any doubt. yakou begins to question what good his justice really does. it doesnt even save them from their predicament, just like the other deaths. instead, makoto ex machina comes in to save them, and hands yakou a small black box

when they return to the agency, everyone is heartbroken over their chief, who seemingly died out of nowhere. fubuki tried rewinding time, but to no avail. halara tried everything to wake him up, knowing it's futile. desuhiko stood aside, feeling completely helpless. and yakou and vivia return looking like they just came back from hell

they barely get the chance for a funeral before the knockout gas trap activates... you know the rest

AAAAND SCENE! so that's my extremely long winded lore dump about this au. i thought about it Way Too Much but god it's so interesting to me. i love these characters and swapping them was immensely fun

#rain code #mdarc #raincode #master detectives archives: rain code #yuma kokohead #yakou furio #desuhiko thunderbolt #shinigami #yumagami #kokogami #yakou's wife #rain code spoilers #mdarc spoilers #raincode spoilers

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ask-the-rag-dolly · 7 months

Note

// Why do you like Ragatha

(Unleash it. Type out the essay.)

// ... the essay warning tag really is going to apply here ^^

ragatha became my favorite character almost instantly the moment she appeared on screen . like i could remember even around the teaser for the show i was pretty fond of her , though i could chalk that up to me liking Any design that is remotely based off raggedy ann

she perfectly fits that oddly specific character type only I love , which is 'grown woman keeps failing no matter how hard she tries and it's marvelous to witness' , like i'm not sure how to explain it too well - she's not really a girlfail or a girlboss in my eyes ... she just . never wins ! and i love that , please keep fucking losing ragatha the amazing digital circus

to break it down , what's apparent in her approximately less than 7 minutes of screentime is that she's a goofy goober who's essentially the voice of reason . she's not emotional like gangle , unreliable like jax and zooble , or out of her mind like kinger . she was essentially the only one who tried to ease pomni into the circus instead of hard-hitting her with the reality as if that won't make her abstract on the spot . it's clear through her interactions with the other characters and how she talks to pomni that she acts like the Pillar of the group , with how compliant she is with caine's adventures and has a comforting presence .

the problem is ... that all of those 'positive' traits are ... Detrimental to her own wellbeing . like i'm sure a part of her positivity is genuine , but her optimism clearly hinges into toxic positivity and her selflessness is taken to the point of people-pleasing and neglecting her own needs . it's clear that she sees her own emotions as a burden that she doesn't want to put on other people .

and . she's dishonest . my girl is dishonest . she often brushes off things as not being as bad as they actually are , she picks her words to cause less conflict as possible , and it doesn't seem like anyone else is aware of her internal turmoil ... even when she's in Literal Pain she still brushes it off as being okay - and she stayed quiet instead of telling pomni that she's upset .

which is ... hilarious . there's just something about nice characters that tell the most lies to me . bonus points if it seems like they're the one who tells the most truths out of the entire group . everything about ragatha is Dishonest .

and it's funny yet again that these Really don't help her at all ! i think it's clear just from promotional material to the pilot that ragatha is meant to be a punching bag . her teaser shows a cleaver Being Thrown At Her , was tripped by jax and Literally Most Of Her Screentime In the Pilot Is Being In Pain , and that's not counting gooseworx's doodles . my girl's fucking Losing .

and it fits her avatar well since she's a Rag Doll ... she's basically never meant to win from the start . she was never the main character .

it interests me so much on how all of these will be taken in the full series since they're all very interesting setups , especially for the setting that the story is set in . i just need to see more of my girl and i wish that a lot of her content isn't limited to ship art . you guys do not understand how desperate i am to see content of ragatha interacting with either caine or zooble . i am Not normal about them .

also i want to kiss her on the mouth //

#[ ooc ]#[ ESSAY WARNING ]#ragatha tadc

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greenthena · 6 months

Text

Buck up, Hamlet!

***Trigger warning: Death and taking your own life in the context of Shakespeare***

Aziraphale likes Hamlet. Likes the play so much, that he bats his eyelashes at Crowley until the demon performs a miracle to make the mopey Prince of Denmark more popular. Well, good job, the both of you, because four hundred and some odd years later, you still can't get through repertory auditions without some bugger hoisting a skull and starting that monologue. Not that I don't appreciate Hamlet from a structural and analytical perspective. And the Prince of Denmark is a character most actors would sacrifice several toes to play. But it's dark. It's not a fun one.

So why does Aziraphale like it so much? Why's this fluffy little angel so Hell-bent on one of Shakespeare's tragedies? Join me, friendly Good Omens scholars, and let's suss some shit out.

Crowley adamantly dislikes Shakespeare's tragedies. "This isn't one of Shakespeare's gloomy ones, is it? Arghhhh. No wonder no one is here," he complains, wilting like a floppy noodle. Of course, it doesn't take much for Aziraphale to weasel the demon into miracling more people into the audience. But Crowley makes a point to say that he "still prefer(s) the funny ones" as he's leaving The Globe.

Crowley, I would argue, goes to the theatre to escape his real-life situation. He's a bloody demon who, when he's not stationed on Earth, literally goes to Hell. And it's not a nice place. Crowley's everyday life (particularly when he's not around Aziraphale) revolves around pain and suffering--whether its his or someone else's is insignificant. What matters is that regularly sees and experiences tangible, visceral representations of tragedy in his actual existence. Of course he prefers Shakespeare's funny ones! They're a reminder that the world and the human race that he's accidentally become so attached to is full of more than torment and affliction. Crowley doesn't appreciate Shakespeare's tragedies because they're an extension of his own suffering, with which he's already intimately familiar. For Crowley, attending a Shakespearean tragedy is like picking a scab. You already know you've been injured and fussing with the damned thing only makes it worse.

This is not the case for Azirapahle. As an angel, he's not allowed to have any scabs, much less pick at them. Like Crowley, he sees suffering in the world. He knows that humanity is constantly facing difficult odds, and even the most wonderful of human lives eventually ends in death. But unlike Crowley, Aziraphale works within a system in which there is no gray space--and therefore, no room for an angel, an agent of the side of righteousness, to experience doubt in the Ineffable Plan. The Heavenly model is to deal with problems by pretending they don't exist. Heaven has an image to maintain, after all. Like, the sheer amount of repression we see amongst the Heavenly Host is honestly terrifying. I'm thinking about the way in which The Metatron frames the Fall and damnation of a third of the angels. "For one Prince of Heaven to be cast into the outer darkness makes a good story. For it to happen twice, makes it look like there is some kind of institutional problem." It's so cold and removed because to process something so traumatic would not fit the image of Heaven. So it's neatly boxed up and packed away into a soundbite that better fits Heaven's corporate brand.

Aziraphale's suffering is certainly no less than Crowley's. The angel's trauma is repressed. It's cloaked in shining bright hallways of pure angelic light. It's hidden behind false words and tight smiles. It's communicated passive-aggressively by abusers who still have the angel caught in their web of control and manipulation. At least Crowley's trauma is visible. When he fell, the demon took on a new appearance that physically demonstrates his suffering. He has access to feelings of anger and frustration and he's allowed to express these things because he's a demon. He doesn't have to be good.

Since Aziraphale is not permitted to own his emotions and his trauma, he outsources them. He enjoys Shakespeare's tragedies because they give him the opportunity to achieve second-hand catharsis. He may not be able to admit that he's suffering, but he can experience Hamlet's pain vicariously.

***Reminding you of that trigger warning, folks!***

And this is where we get to the question, "To be, or not to be?" This is the moment in S1 E3 when Aziraphale interacts with Richard Burbage, and shouts out, "To be! Not to be! Come on, Hamlet, buck up!" He says this with this coy little smile, obviously trying to get a laugh out of Crowley. But it's indicative of a more serious dilemma that the angel, himself, must parse out. In Shakespeare's play, Hamlet's query is expressed as he wrestles with the choice between life and death. Essentially, it's a contemplation of suicide--a dark part of humanity that Heaven manages by eternally condemning those who would risk it. However there's another way to read this question, not as life and death, but as agency and the lack thereof. We think of "to be" as the choice for life and "not to be" as the option for suicide. But the only way in which Hamlet can express his agency is by taking control of the one thing that truly belongs to him: his own life. So when asking this question of an eternal being, what exactly does it mean, "To be?" What does it mean for Aziraphale to express agency in his immortal existence?

In Western thought, we tend to divide things into binaries: right and wrong, black and white, good and evil...to be or not to be. Back in the Garden if Eden, Crowley first introduced Adam and Eve to the idea that they had a choice. The serpent presented two options, obey or disobey God's authority. Though I think a better way of looking at it would be to say, passively accept your role or have agency in your fate. This is Crowley's method. He never pushes temptations upon you. He just wants to make sure you know all your options.

Like Hamlet, Aziraphale is presented with the choice of, "To be or not to be?" He can sign on the dotted line and follow Heaven's authority or he can be an angel with agency, an angel that goes along with Heaven as far as he can. And though Aziraphale still struggles with how exactly free will pertains to angels, Crowley shows him time and time again that he has options--he can make his own choices. From the very first interaction between the angel and the demon on the wall of Eden, Crowley (ever the optimist) knows there is hope for some meaningful connection with Aziraphale, because the angel makes a choice for himself: he gives away his sword. And from that moment, Crowley realizes that this angel might be just enough of a bastard to be worth knowing.

It's no wonder Aziraphale gets attached to the tragedy of Hamlet. It allows him to observe and process the darker and more difficult emotions that he, as an angel, struggles to manage. And perhaps more importantly, the Prince of Denmark's famous soliloquy mirrors of Crowley's method of temptation, wherein the demon simply reminds him that he has a choice and that, even as an angel, he can find ways to express his agency.

#good omens #aziraphale #aziracrow #crowley #hamlet #shakespeare #free will #our side #ineffable #just enough of a bastard to be worth knowing

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