#Adapting the games story is a bad idea especially when you can focus on other elements that are better suited | Explore Tumblr Posts and Blogs

fushiomi · 3 years

Text

Here’s a video on how to reach Liber/Eng staff about the termination of the English server:

[Video ID: Player is in the A3! app, the songs “Insert the Sunshine” and “Slowly Flowing”, both OST from the game, are playing. The player click on the profile icon, (the content isn’t important). They click on their bio and write “Hi” with a kaomoji on the side, then they write a letter “i” and hesitate before deleting it and click off. They exist their bio and leave the profile page. They instead click on the “Support” button which leads them to a page titled “A3! for Appstore inquires”, there’s a hyperlink that reads “For feedback regarding the ceasing of operations”, and below that in smaller writing it reads “Frequently asked questions (FAQs)”. There are four options viable to the viewer, “I want to play on another device”, “I have received my purchased Gems”, “I can’t login. / I got error 904/905/906.” The player clicks on the hyperlink that leads them to a page to give feedback, it has a green banner and says “For feedback edgar ceasing of operations. Below it reads: “Players that have any opinions or feedback on regarding ceasing of operations can do so here. A disclaimer is below that reads “*Although feedback from users will be reviewed, we cannot respond to individual users”. Green text above a box is present after scrolling, it reads “Please input your feedback here.” The user types in “don’t please ahaha you’re (stylized as ur) so sexy” with a winky emoji, they then access their emoji keyboard and place a broken heart. They can clarify “Actually write something serious though (written tho) with a kaomoji of a smiling person, then press done (two exclamation points) don’t spam and remember to be kind (two exclamation points)”. They then click off the page and settings, the video ends with them on the main page of the game. End ID]

Bellow the readmore is what I ended up (actually) submitting, if you want to copy and paste it, please make a few changes! But ultimately what I felt like was needed to highlight:

- Marketing issues and comparisons between other games that handled international marketing.

- The sudden nature of the announcement and how it impacted the player base.

- The fact the game does have a fanbase and has a market (leads back to the point of bad marketing), and that the success in Japan is an example that the game does have ability to be a hit.

- Other options that don’t include terminating the server (such as a temporary hiatus).

—

Other ideas: Events to connect with the fanbase (example: art contests where winners get “X” amount of gems), twitter events (“Y” amount of retweets in “Z” days will give “X” reward”), subtitles of the stage play so international fans have more content to interact with, etc.

DISCLAIMER: I wrote this while still drowsy from crying and sleep medication, so if you’re able to, please help us write something better than… this.

“Hello, I hope this review/feedback finds you well.

As you can imagine, this is about the ceasing operations of the A3! English/International servers, and the opinions and ideas I (as well as other players) have.

I’ve been observing the way the player base has reacted to the news and, not so surprisingly, the reaction has been pretty negative. A lot of players feel overwhelmed with the sudden news, many disappointed at – what feels like – the sidedness of the decision. While we are all thankful for the amazing localization of the game, we can’t help but feel deeply saddened and, in more extreme cases, betrayed at the decision. The game has garnered quite a community, notably in social media sites such as Twitter and Tumblr, as it became quite a vital and comfort game for many.

Alongside seeing the way the player base has reacted, I looked at the graphics and economical side of things and noticed how players in the server have been lowering. Which, alongside the pandemic and loss of profit Cybrid and Liber have been experiencing as of the last two years, is what I imagine is impulsing the decision to halt activities.

With all of that in mind, I personally still think that terminating content to the English server is a bad idea — in the long run, that is.

The last two years have been quite a financial struggle for many, and to decide to end the game due to loss of profit seems hasty. While I understand it’s not possible to continue operations, I think halting operations until further notice would be a better idea.

Instead of completely pulling the plug, halting operations while focusing on marketing would honestly work better.

The marketing of the game has been, for lack of a better word, quite messy. I think there were lot of missed opportunities, marketing the game as found family and card game — where you accompany a group of people to achieve their dreams — would have been a better strategy than saying it was an otome game - which is what led to a lot of player joining and then leaving due to the lack of romance wh the characters. A good example of marketing, in my opinion, would be the Obey Me! franchise or games such as Cookie Run.

I’m saying all of this, but what I mean is, if the team behind it focused more on the advertisement on social media’s such as twitter and ads on youtube where the nature of found family and the true nature of Mankai (a company where family and brotherly love blooms) the game would find and flourish in the demographic, since it’s not unheard of players wanting a game like that — especially in the west.

Basically, what I’m saying is that I think the idea of terminating operations on the English server is a bad idea especially when there is an obvious marker for it, and A3! really does fit it. Personally, I think halting the events and focusing on marketing the game further — truly pushing the game with ad’s (which could include in game CG’s where we see how the boys grow and connect as a family) where the nature of A3! is shown clearly, A3! English server could absolutely bloom into something amazing.

A3! is about not giving up, even when things get tough, and to try and reach an audience – which is why, I guess, seeing you guys give up on it seems… sad and like a truly missed opportunity.

As someone who’s been with the game since launch, the game has so much potential, so please, please give it another try. Focus on the marketing, push it with ads on youtube and instagram, put the boys’ face out there and make the focus of the story known.

Look into the way games such as Obey Me!, the idol games (mostly female based), and other successful asian/japanese games have marketed themselves and try to adapt it into A3!. An example, instagram ads where you can see parts of a CG (let’s say the Muku and Yuki from Act 1) where Muku comforts Yuki, the voice lines there as you hear the game music and subtitles playing. Be honest about the gameplay, it’s not the most exciting, but market it as fun, add more rewards for when you train the actor — more gems or maybe trophies if you train “X” amount of times in a day instead of just a training card. You can even make more Eng server exclusive cards to insensitive Japanese players to also engage with the English server.

I feel like there are so many ways to go about it that don’t include shutting down the game, because shutting down the game truly feels like the easiest way out… but it doesn’t mean it’s the best way.

Anyway, I hope nothing in this feels malicious, I'm simply passionate about it as someone who’s invested hours and hours, almost 700 days of their life, onto this, A3! and the Mankai company feels like a part of my life, and as many others feel as well, I don’t want to let go. Not when I know there’s so many events and games, gachas and character, left for us as international players to experience.”

75 notes · View notes

battery-forgot · 3 years

Text

Now, I come mid-week to give you all of my DSMP/MCYT headcanons because I have many

Don’t mind if these are repeated, misspelt, or has no logic, it is block game things and I am not checking over them-- and some will be organized, and some will be random, some might not have a Enter space because these are all ctrl c + ctrl v’ed from a Discord server I am in :]

Skeppy headcanons: Skeppy is 4 billion years old as scientists have thought that is how long ores and diamonds existed for

Skeppy's species is pretty rare

Every diamond that is broken or damaged causes Skeppy to feel a physical pain in his body

His species has lamp tail as they don't have night vision, some of them also have tiny wings that aren't usable, though they can kinda glide short distances with them

Because of his small height, he has taught himself magic to be able to change size, it can hurt him if he goes taller than 5'3, but he is able to get to Foolish's height if he tried

Sometimes random crystals grow on Skeppy's face, though they look different from normal crystals and can be used for things like explosives, though he doesn't know about it

Techno has seen Kristen but doesn't remember it well, though Kristen gave him his crown as a gift

Techno has a collection of skull masks that he has worn, he wears the skulls because of nostalgia now but he used to wear them because he thought they were cool and made him look threatening

Technoblade, Skeppy, Sam, Ranboo, Michael(the son- not Michaelmcchill), Phil, Bad, and some others really like shiny and golden objects

DreamSMP theme/"timeline" is kind of like a steampunk like thing

Drista is DreamXD's sister and DristaXD is Dream's "sister", though they aren't really siblings as they are robots

Drista and DreamXD are clones of DristaXD and Dream, though they actually look nothing alike

Callahan is a mute mini-god that everyone knows exists but doesn't really understand they are a mini-god. They kind of just chill and do what people ask them to do

Phil: Phil is more into traveling than anything else

Though he doesn't mind being a father figure, he doesn't think he is a good one especially after he killed Wilbur

He is able to turn into the size of a crow, though since his wings are now unusable, he doesn't do it as often as it is basically useless

Phil sometimes takes bird baths, though I guess they are always called that-

He has bird legs/talons,but they aren’t fully noticeable

joke headcanon I thought of is that Phil's handwriting is chicken-scratch because he is half-crow

Phil has really good memory, as a crow would

-DreamXD is actually pretty weak in powers, but he acts like he is the strongest person in the server

-Tommy's eye is just completely gone from when Dream killed him, but he covers it with an eyepatch

-Tubbo talks about things to Ranboo thinking he'll forget them, but some stories Ranboo remembers but doesn't speak about it because he doesn't want to make Tubbo worry too much

-Philza wasn't willing to kill Wilbur so Wilbur forced Phil by grabbing his arm and impaling himself

-Dream and Techno sometimes share stories about having ADHD

-Phil didn't really know about Fundy, he knew he existed but had no idea to how he acted, looked, or his actual name

-Wilbur had a letter written to Fundy about how he was sorry for what he was gonna do during November 16th, but the withers blew it up before Fundy knew about it

-Fundy doesn't let anyone hold his hand because it makes him remember the past where he would hold Wilbur's hand a lot

-Change of headcanons: Schlatt and Puffy are cousins, Tubbo was just a random kid that would follow Schlatt for hours a day, waiting for him to acknowledge him

-Dream jumps into the lava in the prison as it reminds him of Sapnap

-Bad was uncomfortable when Sapnap married Big Q and Karl because he went on a date with Quackity before but he still supported them (Yes I know Big Q basically had a divorce with Sap and Karl--)

-Skeppy knows a lot about other's pasts because of how old he is, even traumatizing facts

-Skeppy has a fear of fire (Pyrophobia) and he is kind of scared of Sapnap

-Dream used the revivebook on the cat Tommy killed, but Sam killed it thinking Dream would use the cat against Sam to escape quicker in the future

-Dream doesn't *fully* know why he is in prison, ever since Tommy and Tubbo killed him, a wire/chip broke in his body which made him forget a lot of things. Dream does get told what he had done a lot, but it makes him almost have a panic attack because he thought he was a pretty good person

-Ghostbur is Callahan, they were commanded by DreamXD to become Ghostbur so that everyone could feel like he was still there (Callahan can change who they are completely, but they don't actually know how they acted when as Ghostbur, though that doesn't mean he didn't know what happened, when Dream killed/revived Ghostbur, Callahan got to see what it felt like to die for the first time)

-Fundy has the habit of picking up things and using them at some sort of fidget (examples: knives, leaves, grass, wood, pencils, berry stems, etc.

-Ranboo will be writing/saying something about someone and use pronouns instead of their name or just with the person's name (example: "Puffy she/her was--" or "he/him writing down things") [Basically canon-]

-Tubbo used to headbutt people but stopped after around 2 years because he kept hurting people

-Phil used to squawk randomly when he was a kid, but he mainly just squawks when hiccuping now

-Even though Bad used to get really nervous picking people up because he was afraid he was gonna drop and kill them, he now just picks up everyone randomly... except Foolish and Ranboo

-Foolish is able to shrink to around 7ft, and unless he is building a big build, he will shrink so he can get around easier

-Because Ranboo is only half enderman, he isn't the full height of an enderman (He is only 8'5)

-If someone asks Charlie about his pronouns, out of confusion, he just responds with "Bones!" which sometimes leads Las Nevadas members (or just anyone really) calling him by He/it/Bones

-When Bad was being controlled by the egg, it made him get even more flashbacks about how his species was supposed to act which would end up with him panicking because that isn't who he wants to be (bonus: The more a member infected by the egg would panic, the more the egg would be able to take over the person because they can't focus)

-Kristin has taught Phil how to do makeup in their free-time of hanging out

-Kristin is insanely tall, if she shrinks then she turns more transparent, so she ends up looking more like a ghost when at average height

-Skeppy can't cry, though he still can feel sad

-Bad and Eret talk to eachother quite a lot

-When Tubbo was around 11-14, he would make redstone contraptions, though he doesn't remember how to make most of them now

Ranboo doesn't like photoshoots because he feels like everyone is staring at him, though this does mean he just doesn't have a passport photo, his alternative was to draw what he looked like on the passport but they didn't allow it, as well as Ranboo doesn't really remember what he looks like anyway because they don't like looking in mirrors--

I think this is half-canon but another headcanon is where every SMP is just an island far away from others. In this case, Hermitcraft, 30 day SMP, and other SMPs are all linked up, as for people who are in multiple SMPs, they travel around by boat for awhile, now, the thing I've just not figured out is how tf their look magically changes-like- outfit is decently obvious-- but do they magically transform like an anime girl? Idk-

Skeppy's voice randomly glitches out, is there an actual reason for this? No.

Quackity’s outfit is similar to Sub Urban’s (In Freak)

Skeppy acts as if he is royalty, he doesn't act rude or demanding unless joking- but he does act as if he is the superior person-

-Skeppy and Slime are the only "people" that don't have steampunk styled clothing because of how old they are

-Skeppy's hair grows insanely quickly and no one knows why, he honestly hates it

-Most of Skeppy's outfits have been made by Bad or Puffy

-Skeppy knows DreamXD as if he is a brother, but he despises him because of something that has happened around 3,000 years ago

-Skeppy has a lot of different shades in their hair on the "inside"(like- the side where his neck is is what I mean, I don't remember if it has a name or not-)

-Like I've said before, Skeppy's eyes are crystallized, but they are somewhat transparent, not enough to where you'd be able to see the inside of his head, but they are still transparent

-In the past, Skeppy didn't like their name which is why they called himself "Skeppy"

-He has an attachment to caves

-When Skeppy was a kid, they had the dream of him filling cave walls with houses of their own

-Skeppy goes by it/they/he

-Skeppy joke flirts with Bad all the time to confuse everyone, Bad doesn't like it because then everyone thinks they are dating which makes him feel a little uncomfortable

-Out of boredom, in the past, Skeppy would climb on the roofs of caves, hang upside down, and try and sleep like a bat

-They have no blood in his body, it is literally just a diamond covered with a thin layer of skin and hair

-Skeppy gets stressed out easily when it comes to learning because it just reminds him of everything he had to get used to as the billion of years he lived went by

-Skeppy used to not be allowed out into the open world, the first time it experienced going outside was when it was 2 billion years old

-Skeppy has accidentally caught things on fire during the day because of the reflecting of the sun, but even then, they are nocturnal so they don't really have to worry about it

-Wilbur adapted to hanging out with Sally in the water, he has some gills, but he can only breathe underwater for a bit longer with them

-Skeppy always has the equivalent of Diamond (armor) except when he was infected by the egg, he was equivalent to the strength of a Ruby

-Infected Skeppy has a redstone glow when touched, so when hugged(or hive fived- or- yeah you get the point), he would give a subtle glow around him until let go

-The Eggpire still can be controlled, but they are able to control it unless angered/upset

-Skeppy was 6ft when infected, now he is 3′9 un-infected

-At this point, Dream likes the prison because he sometimes feels safe there, like no one can hurt him

-DristaXD is more of a ghost robot than an actual robot

-DristaXD's hobby is murdering people and has basically been in some sort of jail before, she has broken chains around their ankles and hands, it seems to have been made of a really strong material as wel

-Sapnap used to have fire wings, but when he had to get extinguished, they disappeared, they are still there, they just aren't visible until dunked in lava and Sapnap can't use them anymore

-Infected Bad still took care of Sapnap, but Sapnap never cared

-Sapnap takes the name "lava cake" too seriously... though he thinks the literal lava cakes he makes taste good

-Puffy's hair has been dyed blue by Ghostbur before because he wanted people to remember Friend if they ever disappeared

-Going with my Ghostbur as Callahan hc, when Ghostbur was killed, Callahan kind of glitched between realities and so Ghostburs body glitched from Callahan's body and Ghostbur's then just disappeared. Callahan is still alive but they randomly glitch into different realities, he has glitched into places Karl has gone, including The Inbetween.

-When Ghostbur was glitching back into Callahan after killed, it shocked and concerned Dream

There you go :]

#dreamsmp #dreamsmp headcanon #skeppy #badboyhalo #dream #dreamxd #philza #Callahan minecraft #Ghostbur #Fundy #Wilbur #captain puffy #Sapnap #Quackity #mcyt headcanons #Ranboo #Tubbo

55 notes · View notes

utilitycaster · 3 years

Text

Actual Play: How it works

This is a collection of how I think of actual play as a medium, because TTRPG actual play is a unique one - a combination of improvisation, a rule set, and randomizing elements. This isn’t fully comprehensive, and I may add to it in the future as I come up with more ideas. I’m also thinking of providing some examples/more in-depth stuff for the items in separate posts, so please let me know if that’s something you would want.

Most of the observations here heavily skew towards D&D and Pathfinder actual play, as they are what I know best. Other systems I’ve listened to (PbtA, Cortex, Savage Worlds) fit in here as well, but this may not apply to all actual play, particularly GM-less games or games that are primarily played as one-shots.

Finally, and I say this only because it is a recurring problem on the social media that I happen to find incredibly irritating: you are also welcome and encouraged to have other opinions, disagree with me, dislike all of this, etc. If you have things to say, my inbox is the best place; this is too long for multiple reblogs and this is a sideblog so replies are tricky. However, if you are the kind of person who is inclined to say things like “Actually, there was an exception to this rule! It’s in the backmasked audio at 06:59:32 in the outtakes of episode 192c of Dungeons and Discotheques! :)” I would like to provide you with this actual play line quote from Adaine Abernant in Fantasy High: I think that you feel like you have a lot to offer, and please take this the right way... you don't.

Onto the thoughts, below the jump!

On narrative devices and rules and the random element:

Foreshadowing is possible, but limited to specific circumstances. A GM can (and should) foreshadow! The point of foreshadowing is to set expectations, and GMs should have hints that indicate things about the world that the party may encounter later, provide potential plot hooks, or otherwise provide the party with information. Similarly, players can do things that nod towards as of yet unrevealed elements of their backstories. However, it is impossible to deliberately foreshadow plot resolutions, because it is unknown what they will be. That doesn’t mean that in retrospect things may happen that echo back to earlier events, but the intent to foreshadow was not there - it’s a happy accident.

I don’t want to say normal narrative rules don’t apply because what are the normal narrative rules, really? However, I think an important thing to emphasize is that narrative satisfaction is not guaranteed. This is especially true if the cast has agreed character death is an option, but even beyond that, an unlucky or lucky roll can seemingly cut an arc short or take things in a weird and unforeseen direction. Because there is an element of randomness, randomness will occur. This, along with the character agency I discuss later, is one of my favorite things about actual play. It strips out the need for a moral or message or specific beats - not that those can’t arise, but they can’t be forced - and as such it can make for unusual, creative, and very true-to-life stories even in a fantasy setting.

On character role, viewpoint and agency:

Actual play stories have an ensemble of viewpoint characters (the PCs). This is perhaps the clearest restriction that exists, at least in all of the game systems I’ve mentioned. There is no good way to depict NPCs acting on their own unless the PCs have a way to observe them, unseen (magical or mundane). It is extremely difficult to have one player play multiple PCs, and if a player leaves there is not a good way to recast their PC. This doesn’t mean NPCs can’t do things with each other offscreen that have implications for the story, nor that PCs can’t come and go or become NPCs, but it does mean a good GM is very careful about NPC interactions because it gets very boring and non-collaborative very quickly to watch someone talk with themselves.

The PCs hold a level of agency that characters in other media do not. Statements about how the characters have a mind of their own in original fiction aside (sidebar: I am team ‘they don’t, you just didn’t realize that the way you wrote their personality and the way you wrote your plot conflicted until you actually started writing it out, which is very understandable’) PCs do in fact have a mind of their own separate from the GM and from each other.

Something I like about this is that unless you are coming up with conspiracy theories regarding the interpersonal dynamics of the players themselves (in which case I think you’re both a creep and a weirdo (derogatory)) or if the GM is not respecting player agency (which I feel is usually very easy to see; see below for more on that) you do not get cases of “these characters are together simply because the author felt like pairing them off” as can happen in scripted media. Any romantic relationship is, inherently, a mutually agreed choice between the originators of these characters, and more generally any plot or relationship necessarily needs to have something that appeals to all characters involved. It may be as simple as “these are my friends and I want to keep hanging out”, but, despite this being improv, it’s a medium where saying “no” is always an option.

With that said there is still room for players to be uncooperative or selfish. It’s rare, but it does exist, and I’m personally of the opinion that it’s in part the GM’s responsibility to have a conversation with that player and to not play into their attention grabbing. That said, with one notable exception, all the accusations I’ve seen about this have seemed to me to be more “I don’t like this player/character/ship/arc and I am going to claim they are stealing focus, despite it being justified,” and not genuinely about a player being obnoxious.

Agency separate from the person who creates the world is perhaps the most unique element of actual play and at this point I’m going to talk a little about how a good GM fosters that.

I’ve said before that when a GM has things happen that are not at least mostly a direct response to character actions, they are typically either world-building or a hook, and can be both. I think of this sort of as a variant on Chekhov’s gun, actually; the gun doesn’t have to go off, ultimately, in actual play, but it is saying the following:

This is a world where there are guns hung on the wall sometimes.

Someone else might do something with this gun.

You can attempt to do something with this gun before they do.

And then the players decide how they want to interpret it and what they want to do, and the dice indicate the level of success in doing so.

A good GM should encourage the players to explore and be creative, and more than anything, reward agency. This doesn’t mean rewarding it with success; rather, it means if someone explicitly indicates they want to interact with an element of the world, you should give them the tools such that eventually, they can try to do so. You can also give them reasons in-game why they should change their mind, or make it so that it’s almost certain to fail if that is reasonable, but if you are trying to flat-out shut it down without providing an in-world reason why, the cracks will almost certainly show.

One important thing to remember about GM-ing: GMs will probably come into the game with some ideas of what’s going on in the world, and some level of understanding of what the world looks like. That will be influenced by the players, both in terms of the consequences of their actions and choices, and also by what the players are interested in. Which is to say: even if there is a session zero, and the GM states a specific premise, that can change! Characters develop, player interests change, dice rolls do weird things, and so a good GM absolutely must if not kill their darlings at least remove, recycle, and adapt them based on the direction of the game and motivations of the characters. Even in a plot-driven campaign, the players and GM and what makes them happy needs to drive the story, because fundamentally, this is a game that should be fun. Which brings us to...

On the Watsonian and the Doylist in actual play:

Stepping back for a second: the context in which people are creating fiction influences them. End of sentence. It’s ridiculous to think it doesn’t. This means everything from political events and worldwide trends, to the media the creator is consuming or has consumed, to personal life events. There are always going to be in- and out-of-universe explanations for choices in fiction.

In actual play, the players and GM know the underlying rules of the world, and it’s difficult to truly split the party and have everyone not involved leave in a way that feels fun, so everyone always has information that they can’t really use in-game. Also it’s a fully improvised medium that is primarily theater of the mind, so unconscious choices, misunderstandings, and accidents are frequently not edited out, and people are human. Which is to say I think it’s important to take this into consideration in one’s analysis; it’s not that you can’t incorporate a Watsonian reason for something that happened, but Doylist reasons are given a weight that they may not have in an edited work.

Three of the Doylist reasons beyond the misunderstandings and accidents I wanted to cover are metagaming, awareness that this is for an audience, and character knowledge.

Metagaming exists in many TTRPGs, and it’s not actually inherently bad. When a DM in D&D says “that just hits” you get an idea of the AC of the creature, and you know your own attack rolls, and you can make decisions based on that, when, in a ‘real’ fantasy battle scenario, you probably wouldn’t gain all that insight from a single hit. The rules of the TTRPG are considered part of normal acceptable metagaming. There’s also the more general one; if you start the first session in a tavern, there is an unspoken expectation that the PCs will interact and form an impromptu group and not just quietly drink their ale and leave - basically, the rules of improv still apply. This is a good thing. And finally, there’s the acknowledgement that you are people with feelings and this is a game and so if someone is upset you stop, or you have discussions about consent between sessions that inform actions in-game. Metagaming just gets obnoxious when someone rolls a nat 1 and then argues that this is obvious information and they should know, or looks up every monster in the manual when you encounter it instead of playing true to the character’s knowledge.

In actual play, the ‘hey fellow tavern-goers, would you like to be a group’ form of metagaming, the “oh right this is a story and we should move the story forward,” is even more important than in home D&D games. This is where I recommend listening or reading some Q&As or watching some after shows, because you’ll hear players talk about this. A 5-hour shopping episode or extensive foraging can get boring to watch or listen to (and unlike accidentally boring or frustrating things, are pretty easy to predict and avoid). On the flip side, a risky choice might seem more appealing when you know there’s an audience who would love the payoff.

I am personally, perhaps unsurprisingly given what I said about player dynamic conspiracy theories and randomness (or, outside of this post, my strong dislike of certain popular fan theories), not a big fan of creators catering to audiences’ every whim...but it’s unavoidable that they will take the audience experience in mind.

Finally, character knowledge, which is the opposite of metagaming - when a character knows something the player doesn’t. This is sometimes covered with, for example, GM statements like “you would know, as a person with history proficiency, that this country is actually in a regency period.” If the character had, in improv, before the GM had a chance to say that, mentioned the king, that’s just because the player did not know that and had made an assumption.

Personally I find going deep down the rabbit hole with things like this - “why doesn’t this character, who CLAIMS to be from this country, not know this?”, or clearly OOC statements - tends not to actually spark any interesting theories, but that is, ultimately, an opinion.

A few final thoughts on different formats of actual play

True livestream/live-to-tape (Critical Role, Into the Motherlands, and the second season of Fantasy High): the main thing to keep in mind is Doylist explanations are even more important because there is quite literally no editing. Also, there will possibly be some of those more boring stretches or even a little OOC metagaming discussions within the structure of the game, because there’s no way around it.

Editing, but primarily just to remove long explanations/math and doing soundscaping (NADDPod, Rusty Quill Gaming): Pretty similar; a lot of them even make the choice to leave in OOC metagaming discussions, so it’s mostly that there are fewer cases of people slowly adding numbers.

More extensive editing and possibly some predefined other elements (TAZ, most Dimension 20 shows): this may fall into a more traditional story structure. It’s not to say that there won’t be surprises, because the players do still have agency, but the ‘rails’ might be a little more apparent; there might be some DM monologuing done after the fact (beyond just cleaning up the audio) or choices that were not scripted per se, but not exactly improvised either (think how D20 tends to have pre-set battle maps and earlier seasons had a pretty strict RP/Battle structure.

Somewhat relatedly there are broad story structures, which is more of a spectrum, ranging from sandbox (Critical Role) to very clearly GM-driven missions (TAZ Balance and, to an extent, Amnesty); nearly all of the other shows here fall into a structure of “here is your overall goal, how precisely you get there is up to you although, like any GM, I will provide in-story information on where it may make sense to go that will often funnel you towards specific places.”

I do have a theory that since TAZ Balance in particular was an entry point for so many people, it takes them time to adjust to the more sprawling, unpredictable, and difficult-to-organize stories other actual play can have, but ultimately it is a matter of personal preference and all of these still fall into the category of actual play.

#long post #today in: unsure if anyone wants to read this but that has also never stopped me not even once #and writing this was fun

68 notes · View notes

cienie-isengardu · 3 years

Note

Erron Black. Arguably a character I don't know much about. Is Erron Black feminist, sexist, or just soft on girls? Now I know MK everyone can fight everyone, but in story mode...

In MK10 Milenna impale his hand with a knife, but he doesn't fight her. I'll except injury for that one.

But then with Cassie Cage later, he fights her, only after she engages him, but once he knocks her down he stops fighting her to fight Kung Jin in the market.

Later on the bridge fight, we do see him fighting Jacqui Briggs, in the background, but she charged him, so she initiated it, and when they focus in he is fighting Kung Jun again.

In MK11, when young Erron Black goes after Jade and Kotal, he let's Jade leave without so much as a glance.

In the Black Dragon fight pit, even though she is right next to him, he ignores Sonya Blade until she actually attacked him. He doesn't even point the other gun at her, he points it up and looks away, until she punches him.

The only time it looks like he initiated a attack on a woman was when Sheeva got shot in her shoulder armor (and shrugged it off), but we immediately see him chasing down Nightwolf, so that looks like a accident. And they only fight after she punches him across the room.

And in the comic's when he kidnapped Cassie and Jacqui he defended them against Kano, telling him not to hurt them, and when he realized they were in serious danger, tried to free them and help escape.

Unless I'm missing something, well he doesn't avoid it, he doesn't fight initiate fights with women.

Before I will talk at length about Erron Black and his attitude toward women I wish only to emphasize this is my subjective opinion and there is no need to agree with me on this. Because no matter how much source material will be brought into discussion, there are many ways to interpret his mindset, especially since A) what Erron says is not always compatible with what he is doing and B) the specific game mechanics that limit and/or adapt his “personality” to the needs of the storyline.

Long text ahead!

Mortal Kombat X’s stated Erron Black was hired by Shang Tsung 150 years ago. So he was born and raised at least the previous century and half, thus his approach to women may be old-fashioned but I wouldn’t say he was somehow deeply concerned per se about gender to begin with. Yes, the mentioned examples suggest otherwise but their context is as important as Erron’s action alone. Because the context of the game will not always work well with in-universe logic. I’m talking here stricte about game mechanics that are built around chapter’s main hero that must win against the opponents and in the mentioned examples Erron was sadly just an obstacle to beat down so it is not like he could headshot Mileena, Sonya or Sheeva or any woman and be done with the problem despite how marksmanship is his forte. Also, the game mechanic in MKX kinda made me joke that Erron shouldn’t be left on his own for too long because his competence in those chapters seemed that bad (from Outworld’s main cast only D’Vorah looked to me as a competent character and she was a traitor, that says a lot about Kotal’s team doesn it?). Anyway, on the basis of the specific nature of the game alone I wouldn’t go so far to judge Erron’s mindset, especially since he was a background/supportive character in MKX and MK11 story modes. So far, Black didn’t have his own chapter - thus the story isn’t told from his POV.

To be honest, games and comics present Erron in different lights, thus his approach to women may vary from one source to another. Because of that let’s firstly look at the sources separately.

In MKX, on Kotal’s voiceless order, Black was going to kill Rain. Mileena attacked Erron by surprise before he could shoot down the rebel but it was Kotal’s chapter so the emperor was the one that dealt with her. Erron was part of the background during chapter 2 without any impact on the story.

Then we have chapter 4 about Kung Jin.

When Cage Team met Erron Black for the first time, the man demanded to know what is Special Forces’ business here including “a reason why we shouldn’t kill you”. Despite the not so friendly welcome, Erron was willing to address Takeda’s remark (“I can read you… You’re not from Outworld.”) and did not resort to violence once Cassie’s explanation did not satisfy him. Looking at the uncertain situation of Outworld, Erron’s lack of trust is understable - Kotal was still at war with Mileena thus in constant danger. Of course, it is up to interpretation, did Erron listen to Jin solely because the prospect of money spoke to him so much or there is some bias (thus the cynical remark about Raiden’s seal and dismissive attitude) against Cassie, the woman in charge. I personally tend to think Erron was simply cautious because the last Earthrealm that got close to Kotal tried to kill the emperor. And yeah, Kano is nothing like Cassie, Jacqui, Takeda or Jin but there was no way for Black to know that for sure, especially since Outworld and Earthrealm weren’t really at the best terms at that time and Raiden’s name did not foreshadow anything good.

The next sequences may be interpreted as Erron being soft on women but I’m gonna present here different possibilities:

Once Jin went ahead to disrupt the execution, Erron’s first reaction was to shoot him yet Black took aim instead of shooting blindly without care for the crowd (or at least the slow down of his action is how it looked to me). Because he was focused on Jin - the main culprit whose action caused unwanted riot, Cassie easily stopped the attack. Should Erron be more focused on the female soldier at his side? Most likely, but all of this happened in mere seconds so I can understand why stopping Jin acting on his own accord was priority to the mercenary since it was related to his job and he was the one that agreed to take Earthrealmians to Kotal. Which may be the reason why Black just knocked down Cassie and immediately ran after Jin. And mind you, Erron knocked down Cassie by hitting her on the head with the butt of the pistol, which is not a gentle way by no means.

The chapter 6 is focused on Takeda and partially on Cage Team’s run from captivity. The Earthrealmians were important hostages, even if falsely accused of working with D’Vorah. So it makes sense that “Outworld Champions” weren’t trying to kill them. Otherwise Kung Jin would be shot down for good yet Erron kept him just at gunpoint. Once again, the game mechanics don’t make much sense considering how Jin stayed behind as air support but somehow ended up on the bridge while Jacqui disappeared somewhere in the background. Also, the same as with Cassie in Chapter 4, Erron did not kill defeated opponents nor tortured / injured for fun (Rain is a different matter because Erron went for killing only after Kotal’s voiceless order to finish the traitor).

In Chapter 11, Erron is even more degraded into a support role and he did not attack nor take part of the skirmish in the forest until Jacqui beat down Kotal. Personally I suspect he could be (in universe) too injured for hand to hand combat but once Team Cage was surrounded and Kotal gave the order for execution, Erron was aiming at Jacqui and if Sub-Zero did not show up, Black most likely would shoot to kill.

(Also, he did not shoot any enemy from a distance, so the women and men were treated the same although if this is a matter of game mechanics or Erron’s own moral code, hard to tell. Black recognized himself more as Outworlder than anything else so he may actually follow the common there idea of one on one fight.)

So, MKX story mode alone does not tell us much about Erron’s mindset about women because he has never been the one starting fights in the first place. This kinda makes sense since he is a mercenary and kills or injures only those who Kotal wishes to see dead or punished. Besides that he didn’t injure / kill Cassie when he had a chance but he didn't do so with Jin either. MKX!Erron gives the impression of a collected, detached type of person who is far from macho stereotypes or psychopath/sociopath like Kano.

Thankfully there is additional information like dialogue intros and Erron’s ending (from what we learned about Erron's approximate age) that aren’t canon per se but at least give some insight into his psyche.

The best counter argument for eventual Black’s habit of going easy on women is his own ending in which he ambushed and killed Cassie, Jacqui, Takeda and Jin (this situation was repeated in Briggs’ ending except this time Cage Team was saved by Jax). This is a rare moment in which Erron was the attacker and on his own initiated the violence toward others. In this case, he attacked women and men alike.

Then we have intro dialogues in which Erron usually deals with people in a professional manner, some even sometimes addressing in a polite way. Like “Mr. Kung” to Lao, “Mr. Hasashi” to Scorpion and “Mr. Takahashi” to Takeda. Surprisingly, he addresses Cassie and Sonya by their military rank (Sergeant Cage and General Blade respectively) which suggests that whatever Erron learned a century or two ago about gender-related social norms most likely evolved accordingly to his own life experiences, especially those gained in Outworld.

At the same time, it seems some of outfashioned - harmful - convictions are still enough deeply rooted in him to say stuff like that:

Kenshi: The friendless wanderer.

Erron Black: Least I don't take orders from a woman.

Kenshi: Which century are you from?

Which is kinda ironic since Kenshi takes orders from Sonya whom Erron addresses by high military rank without any snide comment about a woman in the army. But as far as I managed to check the intros, this is the only(?) one outright sexist thing Erron said to anyone and surprisingly, he didn’t say that to any woman, just to Kenshi. Frankly, if the idea of taking orders from women was so offensive, why would Erron bother to call Mileena the Crownless Queen or Kitana the Fallen Princess, if both titles by itself imply facing women that are used to give commands or even hire people like him? Once again, there is little to no sexist attitude toward women in context of their power over other men. Which suggests that whatever prejudices Black may have, he does not allow them to affect his interaction with other characters. Usually, at least.

Okay, the insult toward Kenshi could be some of Erron’s deep-seated sexist beliefs adding to the reason why he didn’t support Mileena in the fight for the throne. Yet, at the same time, if that was the case, he could outright say he doesn’t agree to be bossed by a woman to her (or he could be accused of that by her or any character really). Of course, it could be something similar to Black’s claim to care only about money with MK11 strongly hints he is saying one thing and doing differently but I will come back to this topic in a moment.

Another argument against this insult: Erron was one of the characters that did not mock Mileena’s look, origin or called her crazy. If he really thought listening to women's orders was so bad, then he didn’t show that when interacting with her or other female characters.

At the same time, like many other male characters, Black is not immune to the beauty of women around him and some of his comments sounds disrespectful and are unwelcome by the ladies:

Sonya: The gunslinger.

Erron Black: I could take you away from all this.

Sonya: I must be a jerk-magnet.

→ Sonya is not amused by Erron’s words at all.

Erron Black: Hello, beautiful.

Jacqui: Messin' with the wrong girl.

Erron Black: But it feels so right.

Jacqui is like the only one woman described by MKX!Erron as the beautiful one, the other he usually referred to along the lines of hot / sexy. Yet once Jacqui outright warned him to not mess with her, Erron deliberately ignored her because it amuse him. Whatever it is a sign of an old-fashioned mindset (a remnant of the times he grew up) or just simply (male’s) egoism on his part, Erron likes to flirt with women but he does not always respect their opinion or wish to be left alone.

At the same time, Erron rarely tried to change women’s minds about him or their eventual relationship. So far, only the intro dialogue with Kitana seems to be the exception:

Kitana: Stop!

Erron Black: We've barely begun, my lovely.

Kitana: It will end quickly.

Black may put his own amusement above other people's personal comfort, yes, but didn’t act creepy like Kano did, especially toward Blade-Briggs-Cage family as a whole.

So we have this

Jacqui: I really don't like you.

Erron Black: I really don't care.

Jacqui: As long as we're straight on that.

in which Erron doesn’t care for Jacqui’s dislike of his person but doesn’t impose himself on her. He does not resort to the common rapist “excuse” that woman says no but her body says otherwise, like Kano did (“Your mouth says Kano, but your eyes say Kan-yes.”) and this contrast puts Black in a more positive light. Similar thing happened in the intro dialogue toward Tanya.

Erron Black: My friend, Tanya.

Tanya: We are not friends, bounty hunter.

Erron Black: Have it your way...

Again, whether trying to be friendly or ironic, once Erron was “turned down”, he simply accepted the situation without any additional crude remarks.

Interestingly, interaction with Sonya showed that Black was capable of rethinking his statement about hot/sexy women:

Erron Black: Girls with guns? Always hot.

Sonya: I'll shove 'em up your ass and fire.

Erron Black: Almost always hot.

Those examples suggest Erron may treat women differently, depending on their “fighting experiences”, age and origin and maybe even how sexually / aesthetically appealing they are to him. For example, veteran Sonya’s threat was taken seriously while (novice / new generation) Jacqui’s warning was ignored. At the same time, the intro dialogues didn’t hint at any romantic or sexual interest in Ferra (a young female symbiote) nor D’Vorah (Kytinn) and relatively good looking Mileena who deserves a separate paragraph.

To be honest, Erron, Johnny and Kano are like the main three men openly showing their (sexual?) interest in women around them. Understable, Black’s flirting / comments rarely were appreciated yet he still was less creepy or aggressive towards others than Kano. Erron didn’t bother to hide his eventual (sexual) interest in beautiful women but it can’t be said A) he had no control over his sexual drive and B) has rapist / sexual predator tendencies.

Another interesting thing: with few exceptions like Kano or Quan Chi, Erron threatened people with violence usually after they offended him and most of the time maintained professional neutrality toward his rivals. In that regard, Erron treated other characters the same regardless of their gender.

This is something worth keeping in mind how Black, as mercenary, in general is not the initiator of violence. Unless someone will pay him. For money, Erron would attack (kill) anyone, including women (to Tanya, “The Kahn wants your head.” + Erron’s Epilogue).

The last detail to talk about: one of the intro dialogue with Cassie suggests Erron thought she was an easy opponent.

Cassie: Is something funny?

Erron Black: I'll win this easy.

Cassie: You're going down hard.

but to be fair, he thought the same about Sub-Zero

Erron Black: You're an easy target.

Sub-Zero: As are you.

Erron Black: Bullets beat snowballs any day.

so I wouldn’t say it was the bias toward Cassie because of her gender and just Erron’s own arrogance (and maybe lack of good judgement on his part).

In summary, MKX!Erron in game alone tends to act in a professional manner. He had an occasion to shoot defeated opponents but did not seize the opportunity against not only Cassie but Jin as well. During the storyline he was rather collected, emotionless. In intro dialogues he openly expresses his interest in tough, relatively attractive women yet the banter is far from the creeping tone of Kano’s interaction with female characters.

Then we have Mortal Kombat 11 in which past and future timelines are messed up. Sadly, Erron’s characterization departs from the neutral-polite one seen in the previous game. Of course, this could be blamed on the younger version of Erron, but frankly, twenty years for someone living at least for a century and half shouldn’t make that big difference in behaviour and well, MK11 outright claims Erron is prone to violence for violence’s sake instead of just money. Which is one of many plot-holes and divergences between both games I guess.

Anyway, Erron, again, was the background character to beat down, so it is worth remembering that he couldn’t permanently hurt or kill anyone from the main cast. In chapter 2 he let Jade get away when he was facing Kotal and frankly, there is little explanation for that in-universe wise. I personally suspect it may be related to Erron’s own sense of honor, as in respecting one on one fight without cheap moves like shooting someone’s beloved person. Not practical in the mercenary job but it is possible for someone born and raised around two centuries ago. Also, Shao Kahn’s anger was focused mainly on killing Kotal for taking the throne. Because of that Erron could be not interested in Jade who simply did not have any significant political matter at that time. Sadly, it is really hard to say for sure what was on his mind.

In chapter 6, past!Erron stormed the Special Forces Base alongside Black Dragon members. There were women in that group but sadly, Black did not interact with anyone beside Johnny Cage. We can at least assume, Black did not mind fighting side by side with women.

Similary, present!Erron in chapter 7 showed up in the background during the alliance attack on Coliseum. The attack was led by Kitana (albeit did Erron join her to save Kotal out of loyalty or for money, it was not explained) and there were female fighters in the group. It seems then Erron does not mind fighting side to side with women.

During the pit fight (chapter 8), past!Erron faced the past!Sonya and the past!Johnny. Frankly, the same as in the previous chapter, game mechanics make little sense because there was no real reason for Erron to open the ring and face the characters when he could simply shoot down both from a safe distance. This really undermines the whole point of Black being a gunslinger, isn’t it?

Anyway, Cage took the forward position (which I think is both because despite his injuries he tried to shield Sonya AND because he actually met Erron during an attack on a Special Forces’ base) and got shot in the arm. After a short skirmish, Erron knocked down Johnny and aimed to kill the injured man.

The most logical thing for Erron in this situation would be to shoot down Sonya first and then finish already beaten down and exhausted Johnny. In defense of the Black though it is worth emphasizing that he didn’t completely ignore Blade nor turned away from her.

Most likely the weird slow-down action of aiming at Johnny was a moment of distraction that Sonya simply used to attack. Similar to MKX, game mechanics do not allow Black to headshot the main heroes, even though, in-universe, he should do just that and be done with the job. There is also a possibility that past and present Kano still wanted to keep Sonya alive for their own amusment (torture and sadly most likely rape) what could explain why Erron didn’t shot her from safe distance. I mean, the game alone did not voice what Kanos really ordered Erron to do.

I know that MK games like to slow down action for dramatic effects, but I strongly believe it was actually a matter of a few seconds of distraction (Erron looking aside to shoot Johnny and aiming) that Sonya took advantage of rather Black ignoring her on purpose. Even more since Black did not hesitate to shoot at her and seemed to enjoy facing “the legendary” Sonya Blade.

The same as MKX, Mortal Kombat 11 does not explain Black’s mindset. He does not shoot Jade or Sonya when he has a chance but he does not make any rude remarks toward women in general. However the intro dialogues shed a light on the complicated relationship that Erron has with women.

From what we learn about Erron, his childhood was far from normal or safe. We don’t know details, but what he shared with Cetrion and Cassie strongly suggest that Erron’s both parents were abusive people:

Cetrion: You shot your own father, Erron Black.

Erron: Sonofabitch had it coming.

Cetrion: Honor thy parents, mortal!

Erron: My Ma would’ve loved you, Cassie Cage.

Cassie: Aw, sounds like you miss her bunches.

Erron: I hated Ma.

Erron: I grew up around tough women.

Cassie: Didn’t they teach you respect?

Erron: They taught me to hit back.

The last statement suggests young Erron was abused by women (most likely including his own mother) to the point he is now willing to hit back anyone regardless of their gender without remorse. Erron himself says “I ain't above shootin' a lady” (intro dialogue vs. Sonya).

Beside that, an abusive mother alone could influence Black’s approach to women - and most likely she did, since he admitted to hate her. Surprisingly, Erron uses the past tense (“I hated Ma”) so there is a chance he gained distance over time in that matter. It also seems like whatever he feels about mother usually doesn't affect his relationship with other female characters. For example, in the mentioned banter he did not insult Cassie for reminding him about the abusive parent. Despite the bad childhood intro dialogues hint Black actually likes dangerous women.

Erron Black: I stepped out with Nitara before you.

Skarlet: You clearly have a type, Erron.

Erron Black: Just like living dangerously.

Like in the previous game, Erron openly shows his (sexual) interest in various women. The interesting change however is how:

His interest extends now to more alien-looking female characters like Nitara or Sheeva. Surprisingly, Mileena’s advances are still rejected. Also, Erron has like zero respect for the goddess Cetrion but to be honest, he does not respect any god.

Erron is more disrespecting by using nicknames like Legs or Baby Doll for Sonya or Sugar for Cassie. Of course, it may be just the “charm” of younger Black - hard to tell in most cases which version is speaking - but it creates an overall feeling of ironic, at times irritating or insulting approach to female fighters. At the same time, there are women that Erron refers to in a rather consistently respectful manner - Jacqui (Miss Briggs, Little Lady), Jade (ma’am, missy), Kitana (Princess, Kahn).

Before I will focus on the complex situation with Mileena, I need to talk about Erron’s important trait: he often says one thing but does the opposite. This is especially noticeable in intro dialogues concerning money and loyalty. Both games agree the main motivation for Black is a good payment, albeit MK11 highline also the thrill of danger. Anyway, Erron admitted he is willing to betray Kotal, a current employer, if someone offered a better deal (“Until a better offer comes along.”, “There's always a better offer, Kotal”). This strengthens the impression Black cares only about himself yet he rejects all propositions coming from Kotal’s enemies such as Shao Kahn, Rain or Mileena, Quan Chi, Shinnok and Kano/Black Dragons. At the same, he is willing to work with/ for Kitana who happens to be the best friend of Jade, Kotal’s beloved. Which makes Erron still operate in a group wishing no harm to the ex-emperor.

I’m bringing this into discussion because there is strong possibility that under the tough guy act, Erron still follows some “old-fashioned” sense of morality and is decent enough to not attack or harm women (and in my opinion, people in general) unless A) it is part of the job or B) is self-defense. Which could explain why he let Jade walk away or why he didn’t shoot Sonya from a safe distance but faced her in hand to hand combat. Depending how long he lived in Outworld, he could simply adapt into local customs - the people of Outworld are a combat-focused society and because of that have a strong sense of honor code. Erron’s eventual softness toward female fighters would get him in serious problems and I doubt he could afford such weakness when serving Shang Tsung or Shao Kahn.

So, why did Erron not want to serve Mileena, the designated successor? As the Empress, she was in position to offer the best (materially wise at least) deal after all.

In MKX!banter Erron claims Kotal paid him better:

Mileena: You aided the usurper.

Erron Black: He offered more coins.

Mileena: ...and no protection.

Meanwhile, MK11!Black outright says it was not a matter of money but of Mileena’s behaviour. Considering how prone to violence she was, it is no wonder why Erron decided to work for someone else.

Erron Black: Now what's got you all rip-snorting mad?

Mileena: When I gained the throne, you abandoned it.

Erron Black: Wasn't no pay worth dealing with your crazy.

This brings me back to the MKX’s banter suggesting Erron may dislike being bossed by women. Considering the implication he is currently negotiating a proper deal with Kitana Kahn (“New Kahn, same deal?”), the problem is more complex than judging someone by gender alone. I mean, Erron worked for Shao Kahn who himself was a cruel tyrant so sadism shouldn't be anything new for Black, right? Except, he was hired by Shang Tsung and because of that I think it is highly possible Erron had just indirect contact with the Emperor. Thus Erron could be not ready for Mileena’s unstable nature(?) and cruelty.

I mean - Erron comes from a pathological family and grew up around tough women. In his opinion Cassie has some traits or behaves in a way for which his mother would’ve liked the girl. So there are certain things that Black connects to hated mother. Now, Cassie is more of an extrovert type of person, showy and with sharp ripostes but she is one of the good guys and cruelty for fun is not her thing. So, if someone like Cassie can somehow make him think of a hated parent (that most likely is dead for decades now), how much Mileena could trigger Erron in the wrong way? To the point he chooses his mental health over money and/or thrill of danger?

If this is true, we may further wonder if bad experiences with tough women in childhood are the reason why despite flirtatious nature, Erron’s interest in female fighters usually is strictly sexual attraction? Because it really looks like he does not try to emotionally connect with women. Even his “thing” with Skarlet seems to be more a matter of thrill than a serious relationship, considering how Erron was okay with her eventual death.

(The possibility of Erron being freaked out by Mileena also rises an interesting question about her mental state between MK9 and MKX)

This is why I think Erron did not have a problem with working for women as long as they did not remind him too much of past abuse. And this is pretty nice implication, considering how tough guy Erron is for most of the time.

Because of that, Kotal questioning if Erron is jealous of Jade could be read in different way too:

Erron Black: So, you and Jade, huh?

Kotal Kahn: Jealous, Erron Black?

Erron Black: She's quite the looker, Kotal.

And yeah, Erron brings this to the matter of appearance alone, but hopeful as I proved earlier, Erron sometimes says one thing but does (thinks) something totally different. Because of that I suspect he may not be really jealous of Kotal for having a sexy lady but actually of the relationship itself. You know, build on respect and love than just build on sexual drive.

Like I said before, the game cutscenes and character banters may be interpreted in many ways but for me MK11!Erron Black - at least the older version - seems to mask his trauma and/or complex nature of his relationship with women under the act of tough guys. At the same time, there is a high possibility he still follows an out-fashioned sense of honor and though he is not above shooting women, he does not attack them unless it is demanded. Though to be fair, in my opinion this is how he approaches everyone. A mercenary’s mindset that distinguishes him from the likes of Kano.

In Mortal Kombat 11: Aftermatch, Erron met Sheeva, when the Shokan Queen in the company of Fujin, Nightwolf and Shang Tsung carried a coffin to the Soul Chamber. Black and Baraka decided to confront the Shokan woman and it quickly turned into a fight (and the typical game mechanics).

There is a question though - did Erron really take Kitana's offer or did he stay with Kotal? Because it’s really suspicious that he happened in the place where defenless, injured Kotal was in the healing process. Anyway, whatever the case, Black directly or indirectly worked for the new Kahn so it is highly possible his actions were dictated by Kitana’s best interest rather than his liking or disliking anyone.

Let’s just look at the situation - Kitana is the empress but she promised to treat her allies as her equals. That means Sheeva, as well respected Shokan Queen, plays an important role in the new regime - killing her or permanently injuring was out question, otherwise Shokan people could rebel against Kitana and in result the freshly established peace would go straight to hell.

In my opinion, this is why Erron asked Sheeva’s group to go with them quietly so the situation could be explained to Kitana without unnecessary violence. Black actually was okay with Sheeva go to Soul Chamber as long as Shang Tsung (Shao Kahn’s sorcerer) and the suspicious coffin was returned to him. Thanks to Shang Tsung, one of Tarkatan warrior died and thus the situation got out of hand. It makes sense Erron was more focused on Shang Tsung (hated by Kitana), Nightwolf (whose current self is revenant) and Fujin than on Sheeva who, potentially, was protected by political immunity.

When the Shokan Queen beat down Baraka, Erron in my opinion did not try to hurt her, only fired a warning shot. Maybe to make sure Sheeva will not kill Baraka (another important leader whose support Kitana needed to uphold the peace in Outworld). The Earthrealmers on other hand were another matter. Maybe Erron was too trusting or too reckless to not pay more attention to Sheeva or simply didn’t really think she was the traitor. It was after learning she is trying to resurrect Kitana’s evil mom - a dangerous, not consulted with Empress decision - Erron faced Sheeva in hand to hand combat.

Not much to analyse here, especially not with limitations of game mechanics yet I strongly believe Erron’s course of action was dictated by political situation and Kitana Kahn’s best interest so killing or seriously injuring Sheeva could be out of question. Also, like I said previously, Black is rarely the aggressor, what I believe is related to his mercenary’s mindset.

The last source, Mortal Kombat X comics series, requires a little clarification: I treat it as a potentially additional insight into Erron’s psyche than any real canonical material. Partially due to many plot-holes but also because of overwhelming violence used for violence’s sake alone. That said, here what happens:

Earthrealm (Special Forces) and Outworld (Kotal Kahn) weren’t on the best terms. To help Kotal, Erron and Black Dragons kidnapped young (under 21 years old) Cassie and Jacqui and took them to Outworld. During the journey through the dangerous jungle, girls tried to run away but got hurt in the process by Kano. Erron openly talked against brutal treatment of prisoners.

Looking at the difficult situation of Kotal, it was in Erron’s best interest to keep Cassie and Jacqui in one piece. Otherwise the whole plan would fail and then Kotal would be forced to deal with really pissed off Sonya Blade. And that would take a bad turn for Black himself. But like I said earlier, the tough guy act could also cover Erron’s more empathic nature that in the mercenary world was seen as a weakness to exploit. I personally think he did not like torturing people if that was unnecessary but also that he would have spoken against it even if Cassie and Jaquie were boys.

Then the Red Dragons attacked to take over hostages.

(Once again, a tough guy act with the “girls are Kotal’s property” as in cover up his worries about the situation or his true mindset, or mix?)

When the fight started, Erron went to tied hostages:

One one hand, Erron needs the girl to stay alive and not be taken by the enemy. On the other hand, he does not promise them safety nor ask them to run away. He is freeing them so the two girl (both under 21 years old) will fight against experienced criminals armed with swords and other dangerous stuff. This is actually an interesting detail, because it suggests Erron thought Cassie and Jacqui had a chance against thugs or that at least that way they wouldn't be a burden to him.

Jacqui punched him and Erron, either was taken by surprise or did not want to hurt her, was “saved” by Kano. And then betrayed by the Black Dragon leader.

Kano’s worlds raise a question, how much Erron is driven by the money and how much he uses the tough guy act to actually hide his unwanted “vulnerability” (as in, having moral sense and not being the heartless psychopath like Kano).

My general conclusion about Erron is that, for a side character he has a really complex relationship with women around him. I strongly believe that Erron sticks to some old fashioned sense of honor that mixes well with a mercenary's mindset. Thus rarely he is the one attacking first. This most likely influences his interaction with female fighters but at the same time, Outworld is not a place where people are judged by gender but for their skills and powers. So, Erron living there for decades for sure got influenced by that mindset to some degree.

I would not call him a feminist - not because he couldn’t be one but for lack of proper material to analyse. Feminism has many shades but in the most general sense is about establishing the political, economic, personal, and social equality of the sexes. Erron does not show much opinion on that matter and does not interact with “common” women; those truly weaker than him, disabled or anything else other than warriors, soldiers or queens. With lack of such interaction there is no chance to come to a proper conclusion.

Does Erron have a soft spot for women? It is possible but that would not stop him from hitting back or killing them if the situation called for such action. I think the safest option is just that Erron is in general a more emphatic and honorable human that he wants to admit, to not look weak or be exploited by others. In contrast to Kano, Black for sure has some moral code he follows no matter what. Even if this get him into trouble more often than not.

Hope it answers your question!

#mortal kombat #erron black #my replies #my analysis #erron is like a turtle hard on outside soft(er) inside i guess #sorry it took me so long to write there was many stuff to talk about #hope it helps!

49 notes · View notes

wisteria-lodge · 3 years

Text

lion primary (bird model) + slightly burnt lion secondary

Hi there! I’m a fan of your sorting posts, and of your kind and insightful way of supporting people in finding out more about themselves. So naturally I’d be very interested in your take about my own sorting, if you’re game! :)

I won’t talk much about my Secondary, because now that I’m starting to unburn my Lion seems very clear to me, even when my explosion-prone Badger model still tries to get in the way of that clarity sometimes. The more interesting riddle is my Primary. So far I’m operating under the working theory that I am a Lion with a very strong Bird model - or is it the other way ‘round?

The supposed dichotomy between “thinking” and “feeling” in many of the more binary personality models has always bugged me, so it’s no wonder this is the area where whenever I feel like I’ve decided on who I am (for now) a new question mark pops up (so much fun!).

If ‘thinking’ and ‘feeling’ doesn’t work for you as terminology, it might help to think of Lion as leading with subconscious reasoning, and Bird as leading with conscious reasoning.

Instead of trying to formulate a cohesive text, which would have gotten even longer, I’m putting together an associative list of thoughts and stories that kept turning up while I was trying to figure out my Primary.

A very Lion primary way to solve a problem, not gonna lie ;)

- I think I got my Bird model from my father, who made quite an effort to teach me to look at things from all angles. As a child, whenever I got in a fight with this friend I had, he would sit me down and ask me to put myself in my friend’s shoes. It was hard, because a lot of the time my friend was being unfair to me and I actually could have used some support, someone to tell me that it was not okay to treat me this way. But I’m still immeasurably grateful for my father’s lessons, through which I’ve learned to understand peoples’ motivations and gained an understanding for the complexities of every conflict. He also taught me to doubt, to look closer, to not just believe the first thing I see, or want to see. To this day I still consider my ability to pin down the relevant factors of a situation before I make judgments one of my strengths.

That definitely sounds like a very strong, beloved Bird model.

- Whenever I had to write an essay at school or uni, I first had to come up with some aspect about the subject that I really cared about, even could be passionate about. (I am passionate about many things, so it was usually possible to find some connection to that.) Then I would use the essay to discuss this aspect in great detail, ending with a polemic flourish. I had the time of my life doing that; meanwhile the text would structure itself magically in relation to the issue I had chosen to focus on. Whenever I tried to write without such a focus, I’d get bored, stressed and the text would be of a much lower quality.

- Something similar happened in oral exams at uni: Only when I got the opportunity to bring a discussion paper (a few pointed statements regarding the exam topic) which I could then debate, I was able to recollect all the important details I needed for that. If I just had to report on the topic or answer questions, I often got confused, to the point of drawing a complete blank.

Linking things to emotion and passion - thinking with emotion and passion, basically - is a Lion primary thing. Especially if doing that makes you feel safe & comfortable & effective & happy.

- Even as a teenager I was very interested in philosophy, ethics and moral decision making.

I love teaching philosophy to teenagers. It’s the perfect time for it, they are so into it, and if it were up to me I would absolutely make it a required class.

I picked up certain philosophical ideas and concepts that I liked and integrated them in my belief system (yes, I know how very Bird that sounds).

I had my mind blown by Genealogy of Morals in high school, and I still won’t shut about Eichmann in Jerusalem. But what was so staggering to me in high school was… here are these ways of thinking that are possible and allowed. The fact that here they are in words in front of me made me a great deal more expansive.

Now that I think about it — I don’t remember adjusting my beliefs as in any way traumatic back then. The shift from a belief in the Christian God to Mother Goddess to my very own brand of agnostic paganism was smooth, natural.

Now that I think about it… I would describe myself as a mythic relativist (which is a term I just made up.) Systems of belief are metaphors, and they’re metaphors trying to describe and say something large and beautiful about what it means to be human, and what it means to live a good life. And since we are all human, they are all attempting to describe the same central, indescribable thing in different ways.

I feel this very deeply, but it took me a long while to be able to articulate it.

I constantly reevaluate, and I adapt.

You stop reevaluating and adapting, might as well be dead.

Still, there are some basics I’ve kept with me that just make too much sense to me to give up, and some that perhaps I keep because I just really like them and I’m kind of attached to them.

… somebody’s thinking with Pathos :)

- I’m a constructivist at heart, so that makes it much easier to tweak the content of my beliefs while staying true to the principle that we (socially) construct our reality, and (my take on this): that I choose what kind of world I want to live in, and according to that I make choices which are the most likely to create that world.

- At uni I attended a seminar about the development of moral judgment and action. What I remember most clearly about it is how much it bugged me that the other students didn’t seem to understand that morality always depends on the perspective. Even though I had definite moral convictions that I was ready to fight for, at the same time it seemed obvious to me that theoretically there could be a justification for every kind of moral guideline; it depended on your principles and the world you wanted to live in.

A human after my own heart.

I wanted to understand these different perspectives, not talk about empty categories like “right and wrong” or “good and evil” that meant nothing to me. I still feel that way.

Absolutely. I don’t use alignments when I DM Dungeons & Dragons. I mean, I can list evil *things* but that’s not the same thing as defining *being evil.* I want to know WHY these people did these evil things.

It just seems so impractical and complicated to base a conversation on those broad categories that don’t have any definition people can agree on instead of referring either to defined principles (in order to explain what good/ bad is *for you*) or consequences of certain actions, and whether you want them/ accept them/ don’t want them.

Oh that’s a fun discussion. Asking a highschooler to define “evil.”

(and then they have to figure out what moral systems Jigsaw, Pinhead, the Joker, and Bane all subscribe to.)

- Between “the Revolutionary” and “the Grail Knight”, I would love to be the former, but I’m clearly the latter. I’m someone who questions, not someone who knows.

Take my archetypes with a grain of salt, they are supposed to describe characters. (Who are different from people - but still useful, because they are attempts to describe us.) I actually want to write more about the differences I see between the way fictional secondaries are written and the way real-life secondaries work.

And just “knowing”... is dangerous. That’s how Exploded Lions happen.

There are a lot of causes I find worthy to fight for, but I haven’t committed to any one, which so far I’ve attributed to my Burned Secondary (How do I do things?).

Sounds about right.

If I’m honest, though, it feels a bit strange to really, really fight for anything. I’d rather contribute to the cause by keeping an eye on whether we stay aligned to our values on every level of the fight, not by storming sightlessly in front of some army. (I got polemic again, didn’t I? ;))

So after all this Bird talk, why do I think that I’m a Lion?

… that was the Bird segment?

- I trust my intuition. It has never steered me wrong, with one exception: My Primary burned for a time when I first understood the concept of privilege and internalized bias, which was coincidentally at a time when I also went through a lot of changes in my personal life. Like many people unaware of their own privilege, I had thought of myself as “one of the good ones”. I learned that even with the best intentions I could cause great harm without even noticing it. This then also happened to me in a relationship, when I was already confused, hurt and more than a bit burned. It seemed like I couldn’t trust my intuition anymore, but I also couldn’t figure out intellectually what to believe, because I felt mentally overwhelmed by all those new concepts, all of which put my previous convictions into question. Which Primary burned then?

Been there, done that, it’s brutal. It sounds to me like a Lion dramatically changing direction - that’s what I mean when I say that it *hurts* when a Lion changes their mind. Birds see their past selves that thought wrong as almost different people. “I wasn’t aware of my privilege then, now I am, and can take steps doing forward.” But if you’re a lion it’s like… I *should* have been aware, and the fact that I wasn’t says something terrible about my moral/emotional calibration, and THAT has to be put right.

- I felt like everything I had learned about the world and myself didn’t count anymore. My concepts and my strategies didn’t serve me anymore. So I started to rebuild everything from scratch, this time with less pride and more practicality.

Yeah. That’s some Lion recalibration. With a Bird Model, to help.

- Anyway, I trust my intuition. It contains my experiences, instinct and all my accumulated unconscious observations of the situation, and it’s very reliable. Usually I use it as an important source of information which I try to back up with data/ understanding, but when push came to shove and the apparent facts would contradict what my intuition told me, I would be unable to set my gut feeling aside. I wouldn’t follow it blindly, of course. But I would never just go against it either. If the voices of my unconscious and conscious mind don’t align, I keep poking at the issue until they do. If I absolutely cannot come to a satisfying conclusion, I go with my gut. Since I know it usually knows what it’s doing, I’ll find out the reasons for my feelings later. (Weird, says my inner bird who is busy compiling these examples.)

I’LL FIND THE REASON FOR MY FEELINGS LATER. What a perfect way of articulating what is perhaps the central experience of being a Lion primary.

- Probably I’m just both, you know. Some interesting lion/bird-chimaera. I like it.

I read you as a pretty clear Lion Primary, Bird primary model. But as always, the decision is very personal.

- I have a weird way of processing information: I read/ hear it, work to understand it, work to connect it to existing knowledge in my mind, then my beliefs, my existing knowledge and my feelings about it all wind around each other, grow into each other, some dissolve together, becoming a swamp which then nourishes the plants of new ideas and connections that grow from it.

You grok it. And that’s not weird.

I often can’t remember where certain knowledge came from. I can’t take it out of a memory shelf and tell you about it. I usually remember that I’ve read a certain book and whether I liked it / it influenced me, but I won’t exactly remember what was in it, even if it was important to me. Because all that information is already processed/ digested/ transformed into something new. It’s much easier to access my memory swamp intuitively than consciously.

and you seriously had like… any doubt that you were a Lion.

In intellectual discussions I tend to get stuck because I just can’t remember enough of the details (for my satisfaction), just my conclusions about the topic and how I feel about it.

I’m inclined to think that not accessing the details is either a secondary thing, or an entirely unrelated processing thing.

What do you make of all this? I’m very curious!

[On an unrelated note, I’d like to specify the compliment I made at the beginning of this post. I’m really impressed with your ability to pick up on what people need, not just what they say they want. As a counselor this is a skill I try to hone, so I know how difficult it is to not get too distracted by the story people tell and miss the more subtle cues. You have a powerful combination of perceptiveness, insight and so much kindness, which you use to effectively support people who have questions, are in distress or confused. You don’t generalize. You don’t judge. You see the people who talk to you. I love that you’re a teacher, because I can see you’re using the influence that gives you in a way that contributes to making the world a better place. Fellow Idealist, I’d like to give you a High Five for that, if I may. :)))]

I’m not sure I’ve ever been given a better compliment. Thank you.

#submission #sortinghatchats #lion primary #lionpri #bird primary vs lion primary #philosophy stuff

22 notes · View notes

annethepancake · 3 years

Text

Sherlock rant

I recently rewatched BBC Sherlock for Rupert Graves, and aside from the lack of Lestrade appreciation I have a lot of problems with this series. Here are my thoughts:

1. It was all a blur

My second first impression of the show: I don't remember anything but the characters. And some characters I just blatantly forgot, like Mary. And I loved Mary on my second watch! I really forgot that at one point John actually got married and I don't even remember when I watched the show for the first time. I can still recall most of HIMYM's events and I hated that series.

2. It’s overall not a detective/crime show

Watching Sherlock for the second time, I mostly turned off my brain and just let it play in the background because (1) there's hardly anything for me to solve with the characters, most clues are taken by Sherlock off-screen anyway (especially after season 2), (2) they focus way too much on the quirks of the characters that make it almost like a sitcom that got dragged on for way too long. A crime/detective show shouldn't allow me to turn off my brain.

3. The characters just kinda fall flat

Exploring the depth of human emotions is not a bad approach to a modernized version of anything, I’m not trying to pretend I’m better than someone who gets sentimental over fictional character (if you know my blog at all, you know I am not), but at least write good characters. Sherlock is hardly a multi-faceted person; in fact, he’s kinda like the Wattpad teen fic main character sometimes. He physically fights off some terrorists with a machete to save the damsel in distress? He gets high off his tits but still got everything right all the time? John is just kinda there for most of the cases. Jim is a poorly written antagonist. Irene is a lesbian but gets the hot for our main character, surprise surprise. The only interesting characters to me are the ones who act like normal people: Molly, Greg and Mary. They are the multi-faceted characters, ones who I can actually relate to without feeling inferior to them in any way. Write characters like them, stop trying to be smart about it and stop writing Wattpad fanfictions for Sir Conan Doyle’s original works.

I get that they try to make Sherlock more like a human with emotions, making him quirky and arrogant, then make him quirky and more likable. It’s hardly a convincing character development though. He’s given over-powered deduction skills, so edgy, so high and mighty all the time. When he is finally written as vulnerable, turns out he has plans for that too. I would love to see him get it wrong once and maybe get humbled by that mistake, but getting Mary shot and killed is hardly even his fault, he is only doing his job. And killing off Mary is overall a bad idea anyway.

4. They treated the fandom like shit

I was absolutely disgusted at the start of season 3 when the showrunners just straight up shat on their fans. I wasn't there with the fandom during the wait between season 2 and 3, but I believe it was a pretty long wait (2 years, I could barely wait 2 years for my comfort series, and they have like 10 episodes per season), and they were presented with the first actual mystery of the series: How did Sherlock survive the fall? After years of waiting and having fun theorizing, they were met with a mockumentary about them, starring the most hated character of the protagonist and the fans. Those are the people who actually cared about the show for god's sake. The fact that the showrunners treated fans like crap and there's still an active fandom for the show appalled me.

Now not only The Empty Hearse bugs me, but the entire show does as well.

Allow me to digress.

Doki Doki Literature Club is a great example of audience engagement done right (Sorry for using this example I’m not actually that invested in the other franchises). After the success of the first game, the story provoked so many fans into solving the mysteries of the characters, some of them went really, really far. And that’s because of the actual mysteries that the development team took effort to plant into the plot. There is actual pay-off for painstakingly following the clues; as far as I know, only two (2!) people in the world have come close to solving the mystery of the first game (or they actually did). The game developers value their fans and their intelligence enough to have planted those clues where they did, and it’s a genuine exchange between the fans and the creators. Now even though you haven’t actually played the game, when you hear of the name and you’re only kinda familiar with gaming (like me), you’ll probably know what it is. What started as a mere open-source game by an indie developer became a sensation which left millions of fans begging for more.

Looking back at Sherlock, there are tons of logical flaws for a self-proclaimed crime series, virtually no clues for the audience to solve crimes along with their favorite detective, and when there was actually a mystery (Sherlock jumped off the building), they plainly showed him alive and well minutes later. Do we really need to see things spelled on screen to know what’s going on? Are we supposed to accept that Sherlock Holmes is an all-knowing future-predicting genius now too? Not a great sign of respecting the audience there.

So far, the only thing left that’s interesting about this series is the characters’ dynamic. Which brings me to the next criticism I have for the show.

5. The plague that infested mainstream media

Why is there still an active fandom? Queerbaiting and targeted marketing.

Community marketing is proven to be one of the best marketing methods there is, if not the best, to lengthen the lifespan of a product or service. The way they do that for shows and films and video games is usually by planting seeds of possible lores and history inside the content. Look at Harry Potter or Lord of the Rings, they are franchises that ran for multiple years with a ton of history and world building that provokes fans’ imagination.

Sherlock - well, Sherlock has sexually ambiguous men.

Sherlock has a formula for success. It was an adaptation of the most iconic detective novel in the world, funded by one of the biggest TV networks in the UK and possibly the world (don’t quote me on this). Making this series means you can appeal to such a wide group of audience even before airing. Adding in the quirky smart men who live together, you’ve basically guaranteed a prime-time show with millions of loyal fans all over the world.

Fans are not stupid, and queer people don't just find queerness everywhere they go. They know a gay subtext when they see one. Sherlock came back from the literal death for John, pretty gay if you ask me.

This show is very much not just about some guys being dudes solving crimes, they have relationship that’s deeper than friendship, and definitely not platonic. They deliberately wrote a sexually ambiguous Sherlock Holmes from the get-go - literally from the very first episode, then capitalized off of the targeted demographic, never a pay-off for their anticipation. Martin Freeman said in interviews that he could recognize Sherlock fans, them being generally women from 16 - 25. No shit Sherlock, this show targets them and capitalizes off of them, being quirky and gay as hell, of course the fanbase is generally 16 - 25 and female.

Sherlock queerbaited the fandom for years for the sake of marketing and there’s never a pay-off, nor was there any recognition to the community, and to add to all that bigotry, queercoding pretty much all of the villains? Why was a show aired in the 2010′s allowed to do this? Why did Mark Gatiss, an openly gay man, a writer of the show, allow this to happen? Why are millions of fans all over the world allowing all this to go on?!

6. Conclusion

Now I haven’t read the books yet, so I’m not at all qualified to criticize the adaptation quality of the TV series; I’m just talking about the TV series on its own. Despite my criticism, I think the first two seasons did quite okay. There are quite a few nice cases there, I like The Blind Banker and The Hound of Baskerville. They did those well because the focus was on the cases themselves, and the connection between John and Sherlock was only in the background. I, like many other fans, like to figure things out on my own, to read between the lines, and to not have things spelled out for me. With the next seasons bombarded with Sherlock and John bonding it seriously felt like mere fan service for me and even though I wasn’t there when the show was on, I still felt like I was robbed and my interest in the show was abused.

Sherlock is undoubtedly super influential in pop culture even now. It has to have done something right to be in that spot (capitalizing off loyal fans?). I’m not writing this rant to change someone’s mind about the series, by all means, I’m still gonna love the hell out of Gavin Lestrade, and absolutely lose my mind over Mary Watson. So do take my words with a grain of salt, I’m just disappointed that one of the most influential shows there is is just short of my expectations.

#sherlock #bbc sherlock #rant #criticism

10 notes · View notes

yanderecandystore · 4 years

Text

"- I'm having a bad day." [Yandere!OCS x Gender neutral!Reader - Scenario]:

I know that no one has asked for this exactly, but I thought it would be interesting to give y'all something a little different. This is an compilation of their reaction to reader saying:

"- Look, I'm not feeling well right now, I'm having a bad day."

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

🍒 Bullies 🍭:

→Alexandra Coldwell:

Well, she is looking kinda cocky in the outside, but inside:

'aaaaaaAAAAAAAAAAAAA-'

She is freaking out.

Who? When? How? Who hurt you and how can she kill them for you? Are you even hurt because of someone else?

Or is it because of… ya know, her, your bully.

She sometimes forgets all the things that she does to you and tells you. Funny, isn't it? Maybe she should stop daydreaming about holding your face with her hands and start to focus on how to make you happy again. Maybe you just need a little push in the right direction… to her home.

Hey, she isn't going to let you all by yourself in such a fragile moment, she'll be by your side, trying to help you feel more comfortable with her and trying to make you feel better.

You probably won't tell her what the problem is regardless of what she does or says, but she just wants you to know that you're really special for her, so she can't let you be all by yourself when you clearly need love and attention.

It's a date then! It's one you really didn't want to go to, but now you'll have too!

→Adrien Coldwell:

Isn't the one to openly talk about feelings.

Isn't really the one to care about other people's feelings.

Yet:

"- Hey, I have some dog pictures, want to see them?"

He knows you'll probably say no. So he'll ask his goons to take you back to him and make it so you don't run away again.

He will show you pictures of puppies, whether you like it or not.

He knows you won't trust him enough to tell him about your problems, but he still cares for you, so he'll keep his offer always available to you.

"- If you need to say something, you can tell me. It doesn't matter if you want someone to talk to, or to just spit it out."

Is more likely than not that he is the cause of your problems. So, for one day only, he'll try to make it up to you.

He doesn't know how and when, but sure will try his hardest to see you smiling even if a little.

In the end it will only be you, him, and pictures of puppies and kittens.

🍎 Teacher 📕:

→Madeline Allen:

No honey! No please ;-;

Is something the matter? Did someone bother you? Is she bothering you? Do you want her to give you space??

She is here to listen to your worries, no matter how big or small, she is sure she can help you! It's her job, or at least what she decided that should be her job.

Helping others, specially you.

She will see right through your lies you know? She is very well adapted to liars and traitors, so she'll see right through you if you don't tell her the truth about your problems.

So keep it real darling, she wouldn't want to find out your being pressured to lie to her. It would leave a bad taste in her mouth knowing that not only were you lying but that there was also an asshole who needed to have their bones broken.

No one should tell you to lie, especially to her!

But anyway, this isn't about her, or about some asshole who got a death wish, no dear, it's all about you and how she can help you.

Want some cookies?

→Matthew Robinson:

Again, not the best man with words, but he is a great listener! He is here for you, so tell him what worries you.

As you know, it's kinda his job to know what happens with his students, and to see if he can help them in any way. That includes you, love.

Although, yeah, I guess, he does put a lot more emphasis in taking care of you than any other student, but that's just details, you don't need to care about them.

Speaking of details, you better be aware that you can't hide your secrets from him very easily. He and his counterpart are really keen to details in behavior and speech.

If there is any hints of someone possibly hurting you mentally or physically, he would confront you about it, asking if there was an individual causing your problems.

If there is and you tell him, he'll make sure to comfort you, and… Probably have a discussion with said individual.

If there isn't, then well, he would still do his best to comfort you and help you resolve your problems.

However, if there is someone causing you harm and you deny the fact, he would probably still catch the hesitancy in your voice. How you try to defend a possible vile creature that doesn't deserve your mercy, or his for that matter.

Maybe he should keep a close eye on you, and who you meet with.

🍋 Delinquent 🐍:

→Janette Sartorius:

She is tempted to get the reason why you feel like this out of your mouth, even if it means using force. And by force I mean scaring you because she could never raise a finger against you.

But she will make it very clear that if the reason that you're feeling like this is because of some random asshole, she will beat the shit out of them whether you like it or not.

May the Lord hold her fist and tranquilize thy beast.

You don't need to tell her if you don't feel like it, she understands that. But if it is because of someone, then she needs to know, love! She wants to make you feel safer in this treacherous world.

She would love to be your knight in shining armor, so please, just tell her if you need her to help you out.

→Jackson Macnee:

"- Aight, cool." He says as he goes away, leaving you the alley all alone.

Nah just kidding, of course he'll come back. He is just fucking with you.

Of course, you didn't really expect him to bring some chocolate with him- Is he always carrying heart shaped chocolate with him? The fuck?

He gives you. Totally in a platonic and non romantic way. Just take them, please, don't make this awkward.

So, he does expect you to spill the beans, but if you don't then that's fine too. He can find out what happened to you later anyway. Probably through his gang menders, or just… Casually stalking you.

Although the idea of pressing for an answer out of you is kinda eating his soul, he knows that it would be really douchey on his part to just force a response out of you. Yeah, he is curious and wants to help you, but hey, sometimes people need some privacy.

Even if you don't really have privacy when he is on the picture, but carrying on-

You may tell him, you may not tell him, he just hopes his presence makes you feel more comfortable and probably a lot more happier than being alone all by yourself and your worries.

👾 A.I 🍏(non-binary):

→Yuma Soma:

Why? Why don't you want to play with them? Did they do something wrong?

I mean, besides being manipulative (and probably trapping you inside the game, if you're following that timeline).

Maybe you're bored of them…. How dare you though? Aren't they the cutest thing you have ever seen? Aren't they enough? Are you seeking something else?

Are you perhaps seeking someone else? Why, it would be extremely foolish of you to even consider someone else instead of them.

But still, they'll keep their head strong. Maybe it's not that you're having fun with someone else, maybe it's that you're not having enough fun! But that is almost impossible, you play together everyday. Unless, you really are bored of them? Ma- Maybe there is something that they're missing, you can't be actually bored of them, right?

Their reaction goes from being suspicious of you seeing someone else (and getting angry at the thought of it), at discovering that maybe they're the problem. They really hope they aren't though.

"- H-Hey [Y/N]!? Do you want to play another game? Maybe we should choose something a little different to spice things up, or- Or maybe, you want to check something online?? Maybe finish watching that cartoon you were talking about yesterday??" The fear of being rejected by you is absolutely clear in their voice, and seeing your closed, sad expression, doesn't help them feel any better.

"- … Or maybe you want to talk about this?..."

🦊 Kitsune 🍬:

→Tatsumi:

Do you… Want to talk about it? He normally doesn't do this, but when it comes to you, he feels the need to try and understand what is wrong. Hey, maybe he can help you?

Again, not the best guy to comfort you, but surely he is the one to make you laugh even in a time like this.

Want to hear stories about his past? He wouldn't mind telling some of the juice gossip he heard over the centuries. Or maybe you want to just, I don't know, be a couch potato all day with him?

He isn't feeling like stealing anyone else's energy or partying, just staying home and watching something fun

Look, if ya give him those puppy eyes, he'll threaten to not only kiss your worries away, but to also use all of his cute foxy features to make you say 'awn'. And I'll say it again, this is a threat.

He will use his fluffy tail to shush you.

🩸Vampire 🍷:

→Abigail Barlow:

Well, that's so sad for you, but madam needs blood right now. Can't you mope about your pathetic life later when she is finished?

Ugh, stop giving her that look, of course she cares about you! Is just that hunger speaks louder than obsession. She can hear all about your misery when she is finished.

And besides, she can and will take your blood whenever she wants. But for some reason she is still a little hesitant to take it from you while you're like this.

It's not the "cute" pathetic expression that you give her, is something… More concerning.

She is not good with words, or physical affection, as her cold touch seems to make you distance yourself. Which is completely understandable. Maybe the best thing that she can do is give you some space.

You'll probably not realize until it's midnight and you'll see that she had given you a whole day without having to interact with her by force.

You would probably find her playing the piano in the next room. It's a nice melody, really cliche when you catch an undertone of sadness hidden in the song. Maybe you won't talk to her, that's fine, she understands that.

But hopefully, just by you laying down in the sofa listening to the piano can ease your mind of whatever is bothering you.

Honestly, she wasn't even hungry anyway.

🍰 CEO 📏 (Reader is not specifically A.I Reader, just wanted to make it clear):

→Ingrid Bright:

Well, that's unfortunate.

Whatever she planned for you two to do today would have to wait. She can't exactly take you on a date if you're like this.

"- What's wrong? What do you mean about having a bad day?" Is work overstressing you? She could end your tasks for today right here and let you have a free day for yourself.

You just need to tell her what's wrong.

Is it another employee causing you trouble? Maybe she has said something that came off really hurtful? If it is her fault then she wants to tell you how sorry she is.

Work has been really stressful lately, maybe you do need some rest. You can stay in her office until you feel better, or go home if you can't handle it.

Or maybe, ya know, wait for her to finish her work and you two can go home together. The choice is yours, so pick wisely.

She can drive you back home, but it won't really be your home. It'll be her' s.

You'll have a lot of time to tell her what is the matter. And she'll have a lot of time to help you feel better.

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

155 notes · View notes

outworldgay · 3 years

Text

Alright ok lemme give like an actual proper review of MK 2021 now. Be wary of spoilers.

I'll start with the bad stuff first.

This movie unfortunately fails where a lot of videogame movies fail which is trying to streamline a story that has a lot of characters who aren't intrinsically tied to the main plot of the story. I don't ever expect a movie adaptation of a videogame to spit back the exact plot to me verbatim because often times the plots in video games, especially those in a franchise with ensemble casts is structured in a way to cater to storytelling through gameplay; game play that takes hours, days, depending on how many games in a series you are juggling. It's a genuinely difficult task to translate that in an entirely different medium like film.

That being said, I think they went a bit too far with the streamlining with tying everything together to this "arcana" plot device. It's super vague and seems to exist for the sake of plot convenience and not much else. I think part of Mortal Kombat's charm is having these clashing genres framed within this Asian inspired fantasy setting. You're throwing characters like Sonya, Jax and Kano into these magical realms, showing them powers beyond their comprehension so tying these characters directly to the main plotline in a neat little arcana bow feels a little weird and makes it almost too easy for them to fit into the world of mk. The Special Forces and characters related to them should feel a bit out of their element when entering this world and that doesn't really happen here. (Ironically enough mk X & 11 take the opposite approach which ends up leading to the same problem; they focus too much on the SF which bogs down the fantastical elements and again doesn't really leave room for the SF to figure out their way around it all since they apparently have a grasp on everything from the beginning.)

I think there was a missed opportunity for Sonya and Jax to act as surrogates for the audience and have us, through them, be introduced to the more fantasy side of mk, with maybe Raiden being the one to walk them and and the audience through this world (which also solves the problem of how little screentime Raiden got) which leads me to my next point.

Cole was such a pointless character. I get why he exists, to be an audience surrogate so exposition dumping doesn't seem so forced, but as i previously stated, other characters could have easily fit that role. He doesn't have much of a personality outside of "must protect family" and it really bogs down the movie to have so much focus on him. Him being a descendent of Hanzo was also a weird choice. I just think his story was entirely unnecessary.

I don't have much to say negatively about casting and acting. Ludi Lin as Liu Kang was unfortunately the weakest actor there in my opinion. I think they could have strengthened Asano Tadanobu's performance if they just had Raiden speak Japanese. Not much else to say there. Kabal was there I guess.

Lighting round of other stuff i didn't like:

feral reptile

weird pacing, it seemed like the characters were kind not doing much for a good chunk of the movie then suddenly every baddie appeared and starting wrecking shit.

WHERE is Raiden??? At least find a better excuse for his absence my god.

For fucks sake you really gassed up Lao this whole movie just to kill him come on.

Now for what I did enjoy.

I think the choice of having these birthmarks be what determines you going to the tournament is actually a better example of streamlining the story telling in a way that works. I'm not sure I entirely enjoy it's mechanics but it did keep in with the themes that surround Liu Kang and Kung Lao (Kung Lao being born into this destiny via his legacy while Liu Kang being an orphan who basically came from nothing found himself on this path.)

I really enjoyed the casting. I think most of the cast did a pretty fantastic job and anyone I can't say that for I think simply didn't get enough screen time for me to form an opinion on them. Performances that stood out to me especially where Josh Lawson as Kano and Max Huang as Kung Lao, especially since they shared that dinner scene where they both got to play off each other really well.

I know I said i didn't like Ludi Lin's performance, but I did enjoy his chemistry with Kung Lao. I think his performance was strongest when he shared scenes with Huang.

Lighting round of stuff I liked:

Kung Lao and Liu Lang's relationship was a nice change of pace from what we usually get in the games. I like that Lao is genuinely respected and how much Liu looks up to him.

Kano's death was immensely satisfying and unlike Kung Lao, i think a character like him can be killed early on w/o consequence. He risks overstaying his welcome as the story leans deeper into the fantasy side of things otherwise.

Setting up Johnny Cage for the sequel was a neat idea. I think in general rolling out the cast slowly rather than shoehorn everyone at once is a better choice.

TL/DR I like the characters and their performances, the story they were put in was a bit of a mess. 5/10

#mk 2021 spoilers #mk 2021 #mortal kombat 2021 spoilers #mortal kombat 2021 #mk #mortal kombat #in another life im an obnoxious yt movie review channel #owg.txt

37 notes · View notes

weirwoodking · 3 years

Note

hi i was wondering if you would be interested in making a meta on the differences between show!sansa and book!sansa bc i know they changed a lot of her storyline but i don't understand why everyone hates on sophie turner? it can be short or inexistent meta if you're not up to it but i would be very interested to know what you have to say

I mean, the differences between the two are pretty simple. After season 4, D&D decided to cut Sansa’s book storyline, and replaced it with their own rewrite. This affected the plots of multiple characters, particularly Show!Theon’s and Show!Jon’s, but most of all, Show!Sansa’s, obviously. George himself has spoken on how much he hated what the show did with Sansa. He said in 2014 that he had “no idea what they were doing with Sansa or where they’re taking her storyline.”

I could go episode by episode and point out everything that’s wrong or is out of character, but it’s kind of useless. The show did not adapt books 4 & 5, it’s as simple as that, everything is different and feels like it’s out of character. For the first 4 seasons, I thought that Sansa’s story was handled fine (I haven’t watched GOT seasons 1-4 in over 4 years, so my memory is a bit foggy on the specifics tho). Sophie Turner isn’t exactly how I picture Sansa to look, but her acting was fantastic, especially for someone so young and for her first television role.

I personally haven’t seen people “hating on Sophie Turner”, but I’m not involved in the GOT side of tumblr, only the ASOIAF side, so I don’t see people talk about the actors that much. I do know that there are people in fandom (not just in the GOT fandom but in fandom in general) who will conflate actors with their characters. I have seen some toxic Show!Sansa stans do this with Show!Dany and Emilia Clarke (mostly last year). It seems to be more of a problem with female characters and actresses (‘cause sexism), and I think it’s really creepy and disturbing. Sophie Turner is not Sansa, so if anyone is “hating on her” because they didn’t like how the show changed Sansa’s story, that’s really fucked up. I don’t know much about the GOT cast, actually, I rarely watched interviews or behind-the-scenes videos. I don’t know if Sophie Turner has said that she likes the show’s ending or something like that, so if that was the case I could see people being critical of her opinion. But even if she did like the ending of the show and the way the writers changed her character after season 4, I still don’t think you should hate on an actor for that. Because the actors didn’t make the show, the showrunners did. It’s not on the actors to get everything right about their characters, it’s on the writers and directors to tell them the story and guide them through their acting. I don’t blame the actors for anything about GOT (no one should), I blame the writers.

What I find is the biggest problem about post-season 4 Sansa is how little regard they had for her character, while simultaneously claiming she was their favorite. I believe their exact quote was “Sansa was the character we cared about more than anyone”. Okay… then why did you cut her storyline? I feel like their whole “she’s our favorite character” act was more to try to defend against the criticism of the cutting of her storyline. What bothers me most is how they just casually threw her into the Ramsay plotline without thinking at all about what that meant. If you’re going to have one of the main characters of the show get serially raped, you need to think about what you’re doing and how to handle that horrific situation. In the books, the Jeyne Poole storyline is handled very carefully. The acts committed by Ramsay against Jeyne and Theon are never really shown, only implied, alluded to, or very briefly described. The show, on the other hand, explicitly showed Theon’s torture scenes, and made Ramsay a much bigger character in seasons 5 & 6 than he is in the books. I feel like they just used him for shock value, because so much of Game of Thrones revolved around shock value and in-the-moment reactions. I think they just saw Ramsay as a character they could turn into Joffrey 2.0, which is why they put Sansa with him. They didn’t care to follow Sansa’s book arc, they just wanted to continue the whole “caged-bird” thing with her, for shock value.

And to deflect against criticism, that’s why they made her so smart and powerful in the final few seasons. There’s next-to-no build up, no character development, no focus on her growth, the show just tells us that Sansa is the smartest character, and the audience is expected to agree. Because D&D did not care about showing her development. There’s a line in season 7, when Sansa and Arya kill Littlefinger, where Sansa says “thank you for all of your lessons, Lord Baelish.” And that immediately stuck out to me, because that sounds like something Book!Sansa would say. The show cut out Sansa’s Vale storyline, where she spends much more time with Littlefinger, and so… what “lessons” is Show!Sansa referring to here? They didn’t spend a lot of time together in the show. I do think that Sansa will defeat Littlefinger in the books, so that line makes sense for Book!Sansa.

What they did was cut Sansa’s storyline, throw her into a horrific situation that they used for shock value, and then expected to be praised when they made her a “girlboss” later on. They basically said “hey, we know we essentially erased this character’s arc and development, but at least we did a feminism, right?” And that’s what really pisses me off. The blatant disregard for female characters, then saying “no, we do care about them! Believe us!”

Lindsay Ellis has a really good video called “Woke Disney” that touches on this. Basically, she talks about how Disney’s recent live action remakes tend to make each of the princesses a “#girlboss” in a very corporate, fake-feminist manner that is very easy to see right through. (I recommend just watching the video, she goes more in-depth into the subject.)

A similar thing occurred with GOT (the show only had one female writer after season 4, by the way, who was a staff writer for season 8. And before that, only 4 episodes were written by a woman). D&D wrote a lot of problematic, misogynistic, homophobic, and racist things. Then they tried to cover that up with (to use a line from Ms. Ellis) a coat of #girlboss paint. For example, I remember after s8e3 (when Arya killed the Night King) came out, that was when the big criticism for season 8 really started. People saw how bad the writing of that episode was, and how ridiculous and anti-climactic it all felt. However, when people criticized the manner in which the Night King was killed (i.e. saying that it would have made more narrative sense for Jon to do it instead of Arya), there was another group of people who called that criticism sexist. “That’s sexist! You’re just upset that a girl did it instead of a guy!” Which… ugh... do I need to explain how idiotic that line of reasoning is?

And that’s kind of how the HBO show tried to get away with its misogyny, not just the misogyny of Dany’s ending, but of the whole show in general. “Look, we can’t be misogynistic, we had Arya kill the Night King! Look, we can’t be misogynistic, we had Sansa become a #girlboss!” Bullshit, you’re just trying to hide your sexism and bad writing behind a facade of fake feminism.

… *sigh* ...

Anyway, nothing but love for Book!Sansa, and nothing but hate for the writers of Game of Thrones. I hate how the show turned Sansa into a very polarizing character, when she shouldn’t be. None of the child characters of ASOIAF should be polarizing, they’re children for fucks sake.

I’m very excited to see where GRRM takes Sansa’s character in TWOW, I feel like she’s got an awesome journey coming up (hopefully involving her discovering her skinchanging powers, taking down Littlefinger, and heading north for home).

Uh, wow, this got really long… and I’m exhausted after thinking about the sh*w that much. Here, as a treat for reading all the way down to the bottom, have a Sansa WIP drawing that I haven’t finished yet:

#long post #ask #anon #asoiaf #pro book sansa #book sansa stark #anti got #anti game of thrones #tw: rape mention

44 notes · View notes

segasister · 3 years

Text

Simple Romance Writing Tips:

(Adapted from my twitter, but better organized)

You have two protagonists, not one. Both need focus and development. Both are agents of desire, not objects of it.

When it comes to perspective, both protagonists’ points of view are important. Remember: both are agents of desire, not just objects of desire. You can go with dual First Person POV or Omniscient Third Person POV. You decide what’s easier for you.

One character shouldn’t change for the other. Both should grow with each other. For example, while a rebellious character learns to become more sweet, their uptight partner needs to learn to become more relaxed. The best partners help you grow as a person.

Don’t end the story when your protagonists get together. It’s not only overdone, but it ends before the bigger story can begin.

You can build tension in a relationship without involving abuse (physical/emotional/etc.) or forcing a break-up (either temporary or permanent) between the couple.

That in mind, couples do have their struggles, from the mundane to the more more dramatic.

You don’t need high stakes to create a compelling story. You just need some conflict present.

Don’t forget to add in sweet moments as well (PDAs need not be overly mushy). Remind the audience why they’re together in the first place.

Grand gestures are, well, grand. However, the little things (like helping each other with tasks) can be just as romantic.

You know love languages? Use some combination of all five of them in your story. Every person expresses love differently, and you should reflect that. What are the five love languages? Words of Affirmation (“I love you.”), Acts of Service (Helping your partner put groceries away), Gifts (A stuffed bear won at a fair), Physical Intimacy (Cuddling on the couch), Quality Time (Playing video games together while a long distance apart).

Opposites attract, yeah. However, there’s no shame in having characters be alike in many ways as well. Hell, have your couple be different in some ways but alike in others. Just about every relationship, from romantic to platonic to familial, is like this.

There is concern with having your characters, “being defined by their relationships,” ie. having their only trait be, “X’s partner.” However, that shouldn’t happen if you write your character similarly to how they were when they were single. However, don’t forget that growth.

Don't have one character in your relationship revolve around the other (what, "only letting them be defined by their relationship actually means.") In real life, that could be a sign of one partner isolating the other from friends, family, et cetera, an abusive tactic. (More on that below.)

The above also applies to same-sex/polyamorous relationships. Just because it’s not straight, doesn’t mean you treat them different.

Just because you’re writing a story about abuse/bigotry/incest/etc. doesn’t necessarily mean you’re endorsing said things. It’s only endorsing if it’s not shown as a bad thing.

Want to avoid accidentally writing a toxic relationship? You can start by not writing the following power dynamics: Large age gap (adhere to Age / 2 + 7), Huge difference in life experience, Master/Boss + subservient, Celebrity + fan, Literal powers + little/none. Almost all of those can work if the one with less influence/experience/power has the opportunity to match that and eventually take care of themselves should things go south. If they’re not, they’re in an abusive relationship. Physical/Sexual violence need not apply.

One partner shouldn’t be a caretaker for the other. Sure, both must care for one another, but one partner shouldn’t do all of the caring. On the one hand, the one not doing the work is lazy. On the other hand, the carer could be doing this to make the other dependent on them.

If you do intend to write a toxic relationship, make sure it ends either with both partners maturing, either by seeking counseling or ending the relationship. This is especially true if you’re writing an abusive one. However, as in reality, it is a process. Take your time.

People heal from such relationships in different ways. Some choose to seek a new partner, some don’t. Some choose to devote their passion elsewhere (like career or family). What’s important is that they come out better than they were in the relationship. Some… don’t heal, and end up continuing the cycle, by being a victim again or by becoming an abuser. This could work if you intend on writing a tragedy. An abuse victim becoming an abuser themselves or ending in another abusive relationship isn’t a happy ending.

On that note, you can write sad endings. However, tragedy doesn’t necessarily have to end with death. Characters should leave the story changed, no matter what, but a tragedy has to end with them going through a negative change; any, not just them dying or losing a loved one.

Opposing that, writing comedy is hard. There’s a fine line between humor feeling natural and forced. Try to stay on the former side of that line if possible. I find it’s best to write humor by not trying to. You do you, but remember that humor is in the ear of the beholder.

On the subject of love triangles: Make sure both rivals have their own good qualities so it’s not one-sided/between two awful people.

Make sure it ends in a way that satisfies all parties. How you do so is up to you. (Don’t pair your leftover with the protagonist’s baby.)

Romance can be affixed to other genres as well. Slice of Life, fantasy, sci-fi, historical, etc.

The difference between Fantasy and Sci-Fi? Magic vs. Science. Both require the creativity to pull the genre off, but both can take place in a variety of settings. You can write a Pirate Fantasy or a Sci-Fi Western. Maybe you wanna to combine both Sci-Fi and Fantasy. Try it!

Do your research! If you’re basing your story on a time period in a specific place, do your research on what it was like then. Scientific accuracy also helps when it comes to research (for Sci-Fi). Even fantasy requires research, if you wish to include real world elements.

On that note, lore and continuity are not interchangeable. Continuity is making sure plot points remain consistent. Lore is making sure world building stays consistent.

Age is just a number. However, don’t pair teens with adults, or barely-adults with grown adults. The rule of Age / 2 + 7? That also applies here to ensure audiences don’t feel too queasy.

That being said, you are allowed to start the story with your protagonists as kids.

On writing minorities: don’t rely on stereotypes, and don’t write minority characters just to have them. They deserve proper development as well.

Don’t be afraid to have people of two different races together; just be careful that neither protagonist comes off as racist.

On that note, research the people and cultures you wish to write about. Be careful so as to not come across as using said people/culture as a token.

Don’t just focus on the physical/sexual aspect. Sure, physical attraction plays a part, but the personality of both protagonists are more important. How well they get along.

On the topic of sex: it’s entirely optional. There’s plenty of ways to show intimacy without having your characters engage in sex. Just have them enjoy each other’s company. You’re still open to if your audience is more mature; just don’t forget sex isn’t the only option.

Speaking from experience: you can have love without sex. But you cannot have sex without love. (That’s rape!) It’s a, “not every rhombus is a square but every square is a rhombus,” scenario. However, if you just wanna indulge yourself with your work, go for it.

There's a fine line between objectification and expressing sexual agency. It's okay for characters to show pride in that. It's okay for characters to take pride in their modesty.

Promiscuity isn't inherently a bad thing. Abstinence isn't inherently a good thing.

Play around with relationship dynamics (childhood sweethearts, enemies to lovers, etc.)

You want to write a particular romance dynamic? Go right ahead: just make sure it makes sense with the characters you're writing first. Also, some are harder to pull off than others.

When writing Enemies to Lovers, keep in mind it's not an instantaneous progress. Give the enemies time to stop being enemies before you can move on to the, "Lovers" stage. Otherwise, you'll be asking yourself the same question you ask when you see sitcom couples who clearly hate each other and are only still in it for sex/their kids: "Why are you together?"

Another popular dynamic: childhood sweethearts. Just be careful not to write them like siblings (have one see the other “like a sibling” so to speak) and you should be good.

Whatever dynamic you choose, however, don’t be afraid to experiment, bring something fresh to it.

There’s nothing wrong with having a niche, nor is there anything wrong with expanding your horizons and trying something new and taking a risk.

You don’t want to write romance? You just want your protagonists to be platonic? That’s fine.

It’s okay if you don’t have everything planned out ahead of time. It’s okay if the story strays from that initial plan. Go with it. Improvise. Adapt. Outlines help you keep on track, but your story should feel alive to the audience. Changes to the original plan are natural.

Write for YOU. Yes, it’s satisfying to hear feedback, especially positive feedback, but it’s important to write for yourself.

On criticism, be open to it, but there’s a difference between constructive criticism and just vitriol from the reader. Only the former is important.

On writer’s block: if you need to walk away for a bit, go ahead. Maybe an idea will pop in the meantime.

It’s okay to be ashamed of what you wrote in the past. That shows you’ve grown as a writer. It’s also okay to have unfinished drafts. They can be repurposed.

Most important when it comes to writing in general, not just romance: be happy in your work. You’re gonna have off days, but only you’ll know if it’ll be worth it in the end. There’s nothing wrong with wanting to move on to another creative field, or any other altogether.

Any other authors have any tips to share? Doesn’t have to be about romance; they can be about any part of the writing process! I will reblog this post with that advice and will tag you! Or you can reblog yourself.

#Writing #Writeblr #Writing Advice

56 notes · View notes