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dontcallmecarrie · 3 years

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Replying to @kine-iende [hope this works and you see it, still trying to get the hang of how tags work] who said:

Thank you, author-person, for this incredible detailed answer. (Also i don't mind being tagged - or not) With Tony being so aware of the dynamic between those rivals, Justin ending as a villian is less going a betrayal from almost-family and more of a 'natural phenomen' he should have seen coming. Because as always:rivals ^^

To be completely honest, if this AU were a tv show the ‘Justin Hammer accidentally founded Cabal’ reveal would’ve been the huge plot twist revealed at the end of either Season 2 or 3, and it’d be a major shocker for the Avengers...but not Tony.

also just realized I somehow made an AU where the protagonist basically becomes a villain out of Spite™ and I’m not sure if that’s the weakest origin story ever, or what

After all, if this were a tv show, it’d be centered around the Avengers, and the main season one conflict would be in seeing how Tony fits in the team— which would get resolved eventually, but not before the audience gets a good look at their dynamics. Like, the chemistry between Iron Man and Captain America, how easily and seamlessly they work together without needing more than a word or two because they’re on the same page, or Tony’s cordial yet distant academic respect for Bruce [which gets contrasted with Iron Man’s uncharacteristic instant bromance with the Hulk], or... well, the list goes on.

Not to mention that having a common enemy alters their dynamic as time goes on, because while if this’d been a one-off things would’ve still been rocky between Tony and the team, whereas having to constantly coordinate because new intel indicates that their last enemy was actually connected to something bigger and that means even more teamwork...

So by this point they’ve got a good idea of their characters, how they roll, how they react under pressure and during downtime and throughout all this, Justin Hammer would make cameos because he’s SHIELD’s main weapons supplier [...among other groups, which in and of itself foreshadows some of his shadier connections later on] and between him and Tony, they’ve basically cornered the market on experts in that field— which comes in handy when we’re talking about alien tech.

Justin wouldn’t get much screentime compared to the others, but enough for the Avengers [and the audience] to see he makes for a very good foil for Tony, with their differences being highlighted all the more due to the similarities. After all, both come across as good people: Tony’s very friendly to anyone who isn’t on his shit list, and Justin acts very polite and gentlemanly to strangers [and is 100% a mom friend to anyone he cares about]. Tony’s a hero, though, while Justin’s long since made it clear he was a businessman first and foremost.

Through all this, Justin and Tony’s dynamic is intentionally kept vague— one moment they’re perfectly friendly, the next they'll be at each others’ throats and, again, sometimes can get misinterpreted as something else.

Then the Reveal happens, and suddenly all those past encounters and hints come up and it’s so obvious in retrospect but—

Who would’ve expected it?

Tony.

Tony’s the only one who’s not surprised by what the latest intel’s hinting at, obtained from an intel broker who turned up dead not long after [...because said broker’d also been messing with HYDRA, but that’s the plot twist that comes up in the next season]: nothing specific, nothing concrete, but something that ties a good chunk of the previous Villains Of The Week together to reveal a far, far greater threat.

The Cabal, and while some of its members have long since become familiar names— e.g. the Fantastic Four normally are the ones who have to deal with Victor Von Doom, but not always— its founder had been a mystery for the longest time. A mystery that has just been ended, except nobody could have expected to see the name on the file.

Everyone else’s caught flat-footed and going through several permutations of ‘oh shit’, meanwhile Tony just leans back, scrubs a hand down his face, and looks out the window with a low whistle.

“Well played, Justin. Well played.”

Which is when the audience learns more about their very strange dynamic, which gets revealed to have started out a rivalry during their childhood [and has now basically escalated to the most high-stakes game of chicken there ever was, but shh].

Here’s the thing: if Tony were to call their rivalry off, Justin would stop.

But...

Tony can count on one hand how many positive constants he’s had in his life: Jarvis’ [and, after his heart attack, JARVIS’] presence, and his rivalry. Those are the two things that’ve been there for him through thick and thin, the only two safe places where he knows where they stand, knows they won’t try and tear him down and that means something.

JARVIS will never leave him [not this Jarvis, at least], but... this rivalry’s been a thing since before he met Rhodey, since before his parents died and Tony’s not entirely certain just how much it’s shaped him, but he can count on one hand how many people give a damn about him and want to see him succeed and—

Tony’s not sure he has it in him to call it off. Not at this point.

Not when part of him knows why he did it, because— well, every superhero needs an adversary, don’t they? For a moment, he’d been surprised Justin had the guts to do this, but it makes complete sense the more he thinks about it and Tony knows just how little respect Justin has for the others, of course he’d be the type of guy who’d go “ugh, fine, if you want something done right, gotta do it yourself”.

also, before this all seems very one-sided, I think I forgot to mention that Justin’s really benefiting from this rivalry too— not as obvious early on, but it gives him something to focus on and work towards.

Something that kept him from depression when he thought too much about his past life and discovered just how much he’d forgotten, was still forgetting, something to keep him from being bored when he looked up one day and realized— he didn’t actually have any goals in this life, did he?

Not when his life thus far had been dictated by his parents, and he’d been okay with following along to their script for him because if it wasn’t him, it’d be his sister or an innocent child who’d be forced to live up to their impossibly high expectations as the heir to Hammer Industries... but it was something he was resigned to at this point, not something he was particularly happy about.

This time, he... didn’t know what he wanted in life. Nor did he remember what he’d wanted last time— had they wanted to be a doctor? Teacher? Writer? They didn’t remember anymore— and it’s startling to realize that he couldn’t remember the last time he’d smiled if he wasn’t talking to his little sister.

Justin’s never been one to seek out the approval of the adults in his life— the fact that he was surrounded by Parents of the Year [note the sarcasm] probably had something to do with that— and remembering a past life means he sees everyone his physical age and lower as kids, so he doesn’t see many people as equals.

...and then Tony decided he’d like having a rival.

At first, yeah, it was confusing; even as an adult, Justin didn’t entirely get why, but it was. Something.

Something good, and gets even better because this is something they both decided, that had nothing to do with the meticulously-annotated plan his parents had for his life, and while at first it was weird, Justin found he was actually enjoying himself [for once].

To the point where he found himself actually getting honestly, genuinely invested in said rivalry, and if he sometimes found himself trying to drill self-care into Tony sometimes, well, those bags under his eyes made them look bad, okay? It was self-interest, nothing more, really!

Really.

So when Tony went and became a superhero, Justin found himself taking a step back for a moment as he paused to consider his actions.

Paused before taking the plunge, because this was it, was serious, was pushing the limit and going past the point of no return. Was he really willing to do this?

A moment to consider things, deliberate on the possible consequences and what could happen— then he gave a sharp, decisive nod.

“Yes, we’re doing this.”

#No Hero [Downward Descending]#replies #Naught replies #character study of sorts #My writing

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yusuke96universe · 3 years

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WHAT IF: Goku Black Turned Good? (My Thoughts) What IF: Goku Black was a Turles Origin Story

https://www.youtube.com/watch?v=Fl-DMTjlbnU

In the link above is MasakoX’s WHAT IF: Goku Black Turned Good? oneshot episode, and I really enjoyed it, but I feel like it had a bit of an underwhelming conclusion.

On top of my head, Zamasu forcing Black in non-consented Fusion with the rest remaining the same until the split from the Spirit Sword severing the Fusion. With the Mortal Black helping Trunks get a better shot at the vulnerable immortal Zamasu who needs to be hit before his body fully resets. By pinning him to the ground. Both of them die, but with one fully repented for his atrocities to Trunks and welcomes this divine justice being deliverd by his hand. Since it’s so fitting for Trunks to be the one to deliver the final blow to him. Goku Black and Zamasu meet again in the after life and make up. Gowasu gives his pupil a chance to start over by granting him his very life the same way Old Kai did for Goku and convincingly ensures how he will do everything in his power to allow Goku Black to not be erased by the higher ups.

I wanted to share my comment to it.

This is much closer to how I would have handled the Zamasu and Goku Black scenario with Goku's body rejecting Zamasu in small bursts like you said with passion and fleeting memories, but his memories being the more major ones for a change. Give Zamasu an arc learning 'what it's like walking in someone else's shoes'. Learning what it means to be mortal first hand and realizing where their purpose in the universe is for.

Granted, I would have taken more advantage of being in the Future timeline where Goku is a Fallen Savior, but his footprints are still ingrained in the people that Goku Black is killing. Black is influenced by the likes of Roshi, Oolong, Puar, Chi-chi, Ox-King, Baba, Korin, and Bulma, if not in the moment, in hindsight because they are planting seeds in him from Goku’s life.

Goku's innate purity and goodness teach Zamasu the mortals' potential through these people and how his body responds to their words and reactions to him. Future Trunks with the Resistance and Goku/ Vegeta hammers it home even further for Black to realize the error of his ways. I think he shouldn't die, but live on and live out a mortal's existence while just barely squeaking out from erasure for being instrumental in halting the arc, doing the Divine equivalent of community service for his crimes. He is the go-to errand boy for the Gods when they need him, but is acclimating to Universe 10 lower realms and forming relationships with the mortals that live there. He is no longer Zamasu, but he isn't Goku either, so he might go by Black from now on, or choose a Saiyan name to fit his body. He is going to take a few more pages from Goku's book. Maybe try martial arts since Universe 10 is filled with various martial artists and we can see how this blossoms in the next arc with the T.O.P.

The twist ending of Black being a Master Class Rebooted Turles

With a new lease on life, Black could give himself an appropriate Saiyan name for his story moving forward. It’s a fresh starting point for Turles.

In many ways, Goku Black was heavily inspired by the original evil Goku, Turles, So it stands to reason that we could just go all the way and just combine them.

This would have the audience recontextualize the arc and looking back to see all of their similarities as foreshadowing and looking forward to how this newly actualized character would be like. The name acting a tease to make people eager for what’s to come.

We could watch as a more open-minded Black had befriended some of his fellow competitors on the Universe 10 team and bonding with others as the T.O.P. progresses. In fact, he could be U10′s poster face like Hit is for U6 or Jiren is for U11 that gets us invested in the other Universes, at least as a threat and at most endearing us to them before they are erased to push the stakes of the arc. These guys could even act as a reference to both groups that fought in the Tree of Might. The loyal followers with varied backstories that Turles surrounded himself to display his open-mind and the Z-Fighters who were entirely made up of Martial Artists back then during the Tree of Might movie.

Movie Turles was hung up over the conflict of Goku’s and Gohan's purity vs the Saiyan's evil nature under the popular misconception that the Saiyans are supposed to be evil, but Toriyama mentions in supplemental materials, in actuality, Saiyans of old were more like Goku. So while the message is taking a different angle, it remains intact through Zamasu being a person who has had his life permanently changed by the 'true nature' of the Saiyan race which isn't evil, but ever striving for self-improvement.

Turles animosity toward Vegeta and his family from the games have been repackaged with Black being Future Trunks’ living nightmare and killing Future Bulma, and being a pale imitation in Vegeta’s eyes by using Goku’s body. So the multiple fights with Vegeta were very personal, but for the other side. Originally it was personal for Turles who had something to prove due to the social hierarchy putting the royalty in a much more favorable status than him being born a low class Saiyan, but Vegeta looked down on him for not training / earning his power in battles like a true Saiyan would.

Turles is better known for his signature Tree of Might, which always had Divine roots which are expanded and explored by making him a full on Kai.

Even right down to Black’s air of sophistication stemming from the Kais having proper manners being more intellectual types not only reflects Turles’ character being a clever Saiyan

Black rebelled against the Divine system in the same way Turles rebelled against the Saiyans by deserting the army

They also share the character flaw of skipping steps for power while looking down on others and being self-absorbed and closed-minded on certain viewpoints.

Goku Black and Turles have similar traits in their arrogance, but also their passion for battle coming out in troubling circumstances due to the Saiyan instincts.

Even right down to the way Zamasu and Turles are defeated are the same after having ravaged the planet and seemingly stripped it of all life and hope. They are both poetically defeated by the power of Earth's remaining living creatures finding hope as they come together in their darkest moments. One is a Spirit Bomb the other is a Spirit Sword. (Granted most of us ignore the Xeno Button)

#dragonball #dragon ball super #goku black #zamasu #gowasu #turles #reboot #dbz #headcannon #masakox #what if #dragon ball what if #tree of might #dbz movie villain

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class1akids · 3 years

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Idk if this is unpopular but I think quirk singularity is a dumb plot device. What is the need for it in the story?

I feel the opposite - I think Quirk Singularity is absolutely necessary at this point to make the OFA-AFO plot at least somewhat interesting.

1. Let’s recap what is quirk singularity?

Quirk singularity means that (1) with each generation powers become more complex and stronger (2) this means quirk will be more difficult to control, since the human body doesn't evolve quickly enough to keep up (3) there will come a point when Quirks will become too overpowered and complicated, and no one will be able to control them anymore.

Basically, quirk singularity puts a limit on the power a single person can hold and poses an interesting and complex ultimate threat at the level of society that relies on ever-increasing powers to solve its problems. How can you solve the problem with more power if more power is the problem itself?

2. How the limits quirk singularity presented manifest in the story and why they are important?

Powers having a drawback is essential for good the story-telling. There is nothing more boring than characters who are so powerful that they can always do whatever they want, there is no real danger, real stakes and at most they are inconvenienced from using their power. It’s difficult to put such characters in suspenseful or dramatic scenarios where the audience really feel that they may lose or fail.

So in the BNHA universe, generally, all people have a single quirk. All these quirks are limited in some way or have some built-in drawbacks:

- Top-level quirk with versatility, but still with soft upper limits (there is always a plus ultra at a price), the holder’s personality flaws lead to self-sabotage (e.g. Bakugou, Endeavor)

- Top level quirk with versatility and no hard upper limit, but the holder can’t fully wield it unless they overcome underlying trauma linked to the power itself (e.g. Todoroki)

- Top power-level quirk with a single ultimate weakness (Hawks, Tokoyami, Aizawa) or the use of which starts a cooldown period (Kaminari) or the power is limited for stockpile resource (Eri, Momo)

- Mid-level powers that can do one thing really well (Kirishima, Iida, Mina) or more support nature powers that are versatile but do not have a lot of raw output attached to fragile users (Froppy, Jirou)

- low-level powers.

But the Top Good (OFA) and Top Evil (AFO) are not limited to a single power - they can acquire multiple powers.

AFO’s power limitation is how much quirks his body can absorb. As evidenced by the existence of the nomu - multiple powers usually come at the price of losing one’s humanity. But luckily for AFO, he has Evil Scientist as sidekick, who can find a way around this problem by evil sciencing (modifying a body to create hosts for AFOs upgrades).

OFA is a power that started out weak and has been built through generations through self-sacrifice to reach the point where it could compete with AFO, but not quite eliminate it (All Might era).

Without quirk singularity, this battle of evil and good would continue forever without stakes until AFO and OFA-users are chucking planets at each other, but now OFA has reached it’s full potential and the tipping point where it cannot be transferred anymore, creating a now-or-never situation to defeat AFO.

This puts the protagonist under some pressure and creates some stakes. If he can’t win, everyone is doomed. (Unfortunately we already know that Deku will not fail because it’s stated in Chapter 1, so it’s not exactly the biggest suspense, but better than nothing)

3. How could quirk singularity apply better to OFA ?

So we saw with AFO, how quirk singularity is a real barrier to his continuous power-ups. Failed nomu, the damage to Tomura’s body, the mental problems caused by the quirk upgrades are all interesting limits.

In contrast, OFA’s limits I think were not very well handled. Especially, because of who Deku is as a protagonist.

His goal is to become like All Might - the hero who was the ultimate Deus ex Machina of the universe, so powerful that he inadvertedly created a terrrible system reliant on that incredible power of a single person. Deku is trying to follow in his footsteps.

So where lies Deku’s conflict or challenge or limitation?

He’s morally perfect - already surpassing All Might in character from the start (as evidenced by his positive influence on people All Might failed, including All Might himself). He has no conflict as regards his goal - he’s not a reluctant chosen one - his goal is aligned with the power and legacy he gets. His power is a stronger version of All Might’s. So logically, he should be able to do everything alone that All Might could.

So the limit doesn’t lie in Deku’s character, nor in the goal, nor in the power. So where is it?

Because of quirk singularity, OFA has become more difficult to handle than it was at All Might’s time, which in the beginning gives Deku all kinds of limitaitons and broken bones, that he could only solve by lowering his power-output. He had to nerf himself to be able to continue.

This is a good limitation, but unfortunately the story didn’t deliver so far on the consequences. While in the Muscular fight Deku permanently damages his arms, this damage didn’t really hold him back so far in a credible way. He wins against Overhaul with the biggest plot-device ever (Eri-backpack), and he manages to smash ShigarAFO endlessly without much visible harm.

Also, because of “plot”, OFA underwent an evolution where it opened up the actual quirks of the previous users to Deku. This was in my view a very bad development, that made Deku less interesting. Suddenly, he had all these extra powers for free (so far neither Black Whip, nor Float came with any drawback whatsoever) that means:

- he can do everything better than other characters, making their niche powers redundant and sucking the oxygen out of their arcs (how could a Sero, Froppy or Uraraka fight look cool now that Deku can do all that but better and on a grander scale)? He has the most power, the most speed, long range, short range, snare, flight - basically the best of everything.

- he has a convenient tool for everything that gets him out of every situation and makes it so that the consequences he suffered because of OFA-singularity to his body don’t apply anymore - he could use Black Whip as a brace and continue smashing with broken arms, and even when his body was broken, he could help Todoroki with his tongue (unlike before in the Forest, when Bakugou was kidnapped).

These upgrades don’t come from any personal development or growth, but all come from OFA’s evolution. Deku also doesn’t struggle much with the extra powers (masters Black Whip in a week and Float instantenously - with some pre-training).

Plus, in the latest chapters his quirklessness has been retconned into making him the perfect vessel, pretty much abandoning the physical consequences as a limit to OFA singularity. Whatever damage his body sustains is always repairable or can be overcome with new gizmos or using the extra quirks.

So did multi-quirk OFA ruin the OFA plot irrevocably?

I think it did a lot of damage to Deku as a character (no growth, no conflict, no clear story-reason why he should be his own hero relying on others rather than still wanting to be an upgraded All Might-god), and to the story overall, by trivializing and making useless other characters who we as audience were invested in. Seeing everyone becoming nothing but fodder sucks big time in my view.

But I think there could still be interesting things be done with OFA due to quirk singularity. As we’ve seen with Shigaraki and the nomu - multiple quirks come with a price to be paid not only physically, but also mentally.

So far Deku is not paying any price for it though. All the extra quirks have come without drawbacks. Danger Sense has the potential to start wearing Deku down mentally though - due to sensing the crisis situations but not being able to be everywhere at once and wearing himself out.

Another thing I’d like to see is the pain and self-sacrifice of all the previous users taking a toll, as well as finally having some of these randomly chosen people to be not perfect. I think having multiple personalities living in Deku’s head shouldn’t look like a peaceful royal tea party.

All these users gave up a lot to get Deku here, so I feel like there should be some pressure on him from inside to get the job done or at least some disagreement about Deku’s plan to make nice with Tomura instead of eliminating AFO (remember, it’s the last chance!). So I think maybe whatever chat he had with 2nd and 3rd provided some conflict between the wills of the previous users, resulting in conflicting wishes for Deku.

All these could lead towards a mental exhaustion or breakdown that could be an interesting moment for Deku as a protagonist and really give him the clarity that repeating history is useless, a solo saviour is not the right answer, but changing the system and empowering everyone else is.

Since the power-scaling of OFA is already off the charts, I think it would be good to make it hurt more. It should feel like a terrible mental and physical burden (something like Frodo with the One Ring) to mirror Tomura being suffocated by AFO, so when the two powers destroy each other (which I really hope is the endgame), it will feel cathartic - that giving up and destroying that great power liberates Deku and saves his life so he can continue as a great hero (but scaled back towards the other in-universe top powers) who kept his humanity and his chance of a normal life full of meaningful bonds.

I’m also wondering how the story will close the society-level quirk singularity plot. One option is that all quirks are somehow tied to AFO (it being the original source) so AFO’s destruction leads to the elimination or gradual decline of all quirks - which would be cohrerent with Deku being the “greatest” - he would hold the peak power at peak quirk level.

Or it may be left unresolved, leaving the door open for a sequel where the ultimate “evil” is quirk singularity doomsday itself.

#bnha meta #bnha endgame speculation #ofa #midoirya izuku #quirk singularity #afo #ofa plot

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mamahersh · 3 years

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The Road to Hell (is Paved with Good Intentions) Chapter 2

“Season 8 was well underway, and the server’s first conflict is bubbling just under the surface. But BDoubleO can’t worry about that right now because he has an Etho to find so they can work on the Horse Course together. However when Xisuma calls a surprise server meeting on behalf of EvilXisuma, BDubs gets his answers about where Etho’s been in the worst way possible.”

(CW: angst, blood, gore)

Chapter rating: M

Now in Etho’s POV

Chapter 1 / Chapter 3 / Chapter 4

Welcome to my first attempt at Ethoslab angst! I wanted an nHo-centric fic with a heavy dose of Etho angst. I have nowhere else to post this, and fair warning I am terrible at characterizations, so everyone will probably be a bit OOC to some extent; but for sure EvilX will be very OOC in how evil he is in this one. The Rating for this and later chapters is a solid M, so be warned about that. If y’all have suggestions or feedback, feel free to come and say hi!

P.S. I got my inspiration for this fic from this fic over here! Give them some love too.

Chapter 2 (below the cut)

The first thing Etho noticed when he awoke was that his mask was still in place on his face.

The second thing he awoke to was a sharp throbbing in his arms and legs. Biting back a hiss of pain, he opened his eyes and looked around to figure out why he was in such pain and sitting upright.

He appeared to be in a dark room, plain stone walls on all sides he could see, and a stone floor. The roof above seemed to be some basalt variant and a darkened redstone lamp was above his head, implying an almost spotlight effect on where he was sitting when turned on. Looking more at himself, he could see that there were spiked cuffs on his wrists, ankles, and neck; spiked in such a way that the spikes were on the insides of the cuffs, so that each movement of those affected body parts dug them further into the spikes and causing him more pain. Admittedly, the ones on his wrists and ankles were already in fairly deep due to how tight his captor had adjusted them. A further perusal of himself, led him to believe at least one of his ribs was broken due to how painful it was to breathe at the moment. He also seemed to be covered in a plethora of bruises and scrapes, indicating either an altercation or a bad fall.

Etho took a moment to collect his thoughts and try to remember what had happened before he had fallen asleep. Last thing he remembered, he had been out on another midnight deal making spree with Xisuma and Evil Xisuma. Admittedly, Xisuma had been acting a bit off since the last server meeting, asking for midnight anything was fairly out of character, and his sudden complete trust in EX was somewhat concerning even in the best of times. But this certainly hadn’t been the best of times. Their midnight haggling had been slowly getting more antagonistic over the last couple of weeks and Etho had been planning on cutting off any further dealings with the Derpcoin pioneers to keep both himself and Iskall’s diamond investment safe. However, last night the haggling had gotten quickly out of hand, EvilXisuma not taking any of his excuses for why Iskall and himself couldn’t actually use Derpcoin in their shops.

The last thing Etho can remember is EvilXisuma yelling and angrily gesturing before there was a sudden pain at the back of his head, and the world going black. ‘Well that explains the headache and sudden displacement from our weekly meeting place,’ thought Etho, idly flexing his fingers and toes to make sure that everything was still working properly. (They were). Didn’t explain the broken ribs and looking (and feeling) like he had been through a wood chipper, but that could be written off as EvilXisuma wanting to rough him up for some reason. Which was weird, because last Etho had checked, EvilXisuma had claimed that he had turned over a new leaf. Not to say anyone trusted him when he said that, particularly Etho, but over the opening couple of months on the server, EvilXisuma had kept true to his word. He had kept to his Derpcoin empire, and kept a ruthless rapport going with his business competition; but he’d never resorted to the violence and underhanded villainy that had characterized his previous attempts at taking over the server before he was banished to the Void. Except for now apparently.

Which led to the next question of why? Why Etho? Why would EvilXisuma desire to kidnap and rough up him? He certainly didn’t have important connections with any businesses this season. He also didn’t have any close partners this season outside of Iskall. Well, ok, he had that deal with Doc recently, and he was building the horse course with BDubs; but neither of those could possibly have anything to do with EvilXisuma’s Derpcoin empire. Plus, the people who were resisting Derpcoin, had nothing to do with him, and cared for him only as Hermits care for their own. (Which was a lot admittedly, but in this case, it didn’t seem like a logical choice. They all cared for each other, and there were far better bargaining chips on the table than him.)

A sudden bang of an iron door behind Etho startled him from his reverie, along with a flash of the overhead light as the redstone activated. Jerking his head to the side to see who it was, caused a stab of pain in his neck and a sudden wet sensation on his neck and shoulder. He instantly jerked back into place, silently hissing at the sudden pain. “Well, well, well,” started a familiar evil voice from behind him. “I see you’re awake!” With a final tap of his boots, EvilXisuma stepped into Etho’s visual range. “I hope you have found your accommodations suitable?”

Etho rolled his eyes. “Yeah, sure, I love being tied up on a chair in a dramatically lit room with no explanation as to why.”

Evil Xisuma chuckled, and leaned forward to trail his hand along Etho’s forearm. “I’m glad they did what they were meant to then. Can’t have you too comfortable for my upcoming show, now can I?” With a sudden tightening of his grip on Etho’s forearm, he quickly twisted it and pulled the arm closer to Etho; tearing the skin and one or two of the outer tendons in his wrist due to the spikes in the cuff, causing Etho to yell in pain. Etho bit down on his tongue to cut off his yell, though he couldn’t quite mute his own whimpers of agony as EvilXisuma let go of his arm.

“Th-that…”, Etho managed to hiss out between his teeth. “That w-as compl’tely unnecess’ry.”

EvilXisuma hummed beside him, a long thin sharp bit of metal suddenly in EvilXisuma’s hand. “Perhaps,” he mused, seemingly eyeing the arm he hadn’t touched. Etho’s anxiety spiked as EvilXisuma slowly paced his way around behind and to the other side of Etho’s chair, lightly dragging the piece of metal along Etho’s arms and shoulders as he went. Then, as suddenly as he had clutched Etho’s right arm, he stabbed down with the metal stake into Etho’s left forearm, impaling it to the chair. Etho yelled again, but quickly silenced himself, unwilling to show the sadistic bastard just how much pain he was in. “However, that was entirely necessary, as will be the next 3.” Etho felt his heart stop for a moment as he looked over to see if EvilXisuma was in an uncharacteristically joking mood.

He was completely serious. Oh Lord, he was completely serious.

“Nonononono, n-now come on Evil X, my guy, this is all very unnecessary,” stuttered Etho, fingers rapidly flexing despite the pain both his arms were now in as EvilXisuma pulled another long metal stake out of his inventory.

“Hmm, I disagree Ethoslab. But if you continue to be excessively disagreeable, I shall have to take steps to make you more agreeable.” EvilXisuma lined up the stake on Etho’s upper arm. Then, with a sudden lunge, EvilXisuma pinned Etho’s upper arm to the chair; making it so his entire left arm was basically unusable. Etho yelped and the rest of him squirmed in subdued agony as he tried to block out the new pain in his arm. His yelp morphed into a whine, but he pushed through the pain to try and pay attention to what Xisuma was doing as he moved around the back of the chair.

“W-what do you even accomplish w-with this stunt anyways?”

“What do I accomplish? Currently I’m making sure you won’t get away. It’s imperative you don’t escape during the stream after all.” Most of that went over Etho’s head, pain addled as it was. But what stuck out to him the most was the “stream” part. He had heard of those from some of the other Hermits, BDubs and Doc the only two from the old NHO that had picked up the habit. However, what mattered to him, was that it was a way to show other people something at the same time you were doing it. Meaning that EvilXisuma wanted to accomplish something for someone in real time, and Etho was being used for it.

His thoughts were once again cut off as another spike was jabbed through his other lower arm. This time, he was able to keep his vocalizations to a minimum, only whining in pain as the new wave of agony overtook him. But before he could completely acclimatize himself, the final spike was shoved through his right upper arm. He screamed, and the edges of his vision went dark as his right arm was immobilized completely. His scream petered out, and sat huffing as Evil Xisuma stood in front of him, staring impassively down at him.

“Hmmm, I just don’t know…” mumbled EvilXisuma, continuing to stare at Etho. Etho continued huffing through his mask, though the bad feeling from earlier hadn’t left, and only seemed to be increasing and he began to take more notice of his surroundings. He really didn’t like how EvilXisuma was staring at his face. “It’s so hard to read your expressions with this mask on your face. What do you think? Should I take it off now or later?” Etho did a full body twitch, agony lancing across his arms as he instinctively went to reach for his face to protect his mask.

“You absolute asshole,” Etho hissed, head cringing as far back as he could pull it into the seat to get away from EvilXisuma’s wandering hand that had started for his mask. (This despite the sharp spikes that were actively digging into the back of his neck causing blood to layer into the back of his shirt). “You touch my mask and you won’t like what I do.” EvilXisuma chuckled at that, clearly amused that Etho thought he would be able to do anything to him.

“Oh I’m sure someday you’ll ensure I’m fairly miserable.” EvilXisuma reached forward and slowly began lowering Etho’s mask. However, EvilXisuma was unprepared as Etho twisted his head and snapped up at EvilXisuma’s hand, biting through the protective gauntlet and into the hand beneath. EvilXisuma flinched back, ripping his hand out of Etho’s now exposed mouth. However, as Etho pulled back himself, he began to shake as the fresh pain of deepend wounds on his neck overtook him.

“Th-that’s what you get…” he rasped, energy waning as EvilXisuma continued to stay away. “Try that a-again, and I’ll r-remove a f-finger.” For a moment, EvilXisuma was still, his own mask making it impossible to tell what he was feeling. Then he began to laugh, a deep full bodied laugh. He cackled and wheezed, and Etho grit his teeth, because this would not end well.

“Oh Etho, your sense of humor never ceases to amuse me.” EvilXisuma turned away, and began to fiddle with his communicator. Suddenly, a floating box appeared in the air in front of him, a circular glass piece embedded in the side facing the two of them. Etho gave it a curious glance, but kept his focus otherwise entirely on EvilXisuma, too worried about the backlash to his comment. He knew how this worked, and he knew EvilXisuma was not going to take his threat lightly, despite how he had initially reacted. He watched as EvilXisuma turned back to him, and went back to making considering “hmm”-ing noises. “You know Etho, I don’t know what I want to do first once the livestream is up.” He walked up again in front of Etho and crouched down into a squat. “After all, I was initially planning on just roughing you up a bit, do something memorable to start it off.” He then reached out and trailed a finger along the back of Ehto’s left hand. Etho tried to suppress his instinctual flinch, but it was in vain as the twitch still caused agony to lance up his arm and forced a whimper from between his lips. EvilXisuma smirked at this and continued, “however, you threatening my fingers got me thinking, that maybe I could remove one or two of yours…” He gently trailed down Etho’s middle finger before jumping to the upper arm’s stake and lightly circling it. Etho took a shaky breath, the pain slightly easier to ignore now, perhaps because his mind was starting to block most of it out. “But you’ve been very mouthy, and I’m not feeling particularly generous about your speaking and biting privileges right now.” EvilXisuma had by this point circumnavigated the chair, and was back to standing ominously in front of Etho’s line of sight. “But all this is idle speculation. We shall find out what I’ll do momentarily.”

With that, EvilXisuma stepped off to the side, and began typing frantically into his communicator. At this point, Etho was just distanced enough from himself that he idly wished he had access to his communicator to find out what Evil Xisuma was typing into chat. Then he realized if he had access to his communicator he could call for help. But he didn’t know where he was. But his communicator would have exact coordinates. But he didn’t have his communicator. But if he did, he could let Iskall know he’d be late getting back to the base because some asshole had tied him up in their basement. Which looped him back to his surroundings, which had EvilXisuma suddenly leaning down next to his ear and saying, “Now behave Ethoslab, you’re the star of the show after all.” And then with a surprising lack of further fanfare, a light on the box blinked on, and EvilXisuma began his speech.

#ethoslab #etho #hermitcraft #Evil Xisuma #Xisuma #Xisumavoid #hc fanfiction #hc fanfic #blood #gore #mutilation #torture #graphic depictions of violence #help I don't know what to tag this

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septembercfawkes · 3 years

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Crafting Convergence

The concept of convergence is something I wish I was introduced to earlier in my writing journey, which is why I'm writing this post to introduce it to you now. I first ran into the concept a little more than a year ago (why so late in my journey? 🧐), and it's been in the back of my mind a lot lately.

Don't get me wrong, I've heard convergent-related ideas--like ticking time bombs and deadlines--before, but they were never connected to the broader concept of "convergence."

"To converge" means to meet at a point, incline toward each other, or to come to a common conclusion.

I also think of it as having a kind of collision.

In crafting our stories, we often want a degree of convergence.

Convergence is about getting the audience to look ahead to a specific moment that promises a (potential) collision. This is very effective on the plot level, as it draws the audience into the story and keeps them around as they anticipate that collision.

So how do we bring convergence into our plot?

In his book, The Structure of Story, Ross Hartmann breaks down different ways we can do just that.

Limited by Time

We can get the audience to anticipate a future event by restricting time.

This might be something like a deadline. (My capstone presentation is due on Monday.)

It might be a countdown. (We gotta defuse the bomb before it reaches zero.)

Or it might be something like having to save Christmas before Christmas morning.

As Hartmann points out, the audience typically needs to be able to envision the potential consequences. If we don't fix X on Christmas Eve, Christmas could be ruined. If we do fix X on Christmas Eve, Christmas could be saved. (This is how I like to think of stakes, with my favorite "If . . . then . . ." approach.)

When the audience can imagine the different significant outcomes, they get invested in the story and are drawn in by anticipation.

Sometimes the potential consequences can be left out to create mystery (but keep in mind that in order for this to work, there needs to be some drive. If the audience is left with little to no context for most of the story, the story isn't usually effective).

As time begins to run out, the situation begins to feel more intense. And having the characters struggle up until the last moment is usually a good idea.

The time may not always be a set time so to speak, but a near-future event. For example, in Star Wars, the Rebellion needs to succeed before the Death Star is fully operational. This is still a concern of time. It's just that it's a countdown to an event, rather than an explicit day, hour, or minute. Each Death Star update draws us closer to the end.

Diminishing Resources

But really, time is just a type of resource. So another way to create essentially the same effect, is to have a diminishing resource.

This might be fuel.

It might be food, water, or oxygen.

It might be money.

It might be blood.

It might be ammunition.

As the resource becomes more and more depleted, the situation becomes more and more intense. As Hartmann says, we are "forcing the stakes." The stakes must draw closer as the resource gets lower.

He also points out we might show the lack of resource explicitly, like with a measuring device (such as a gas gauge), but it can also be dramatized, such as characters stuck on a raft that is heading toward a waterfall (where distance is the resource).

Again, ideally, the resource should be continuing to diminish, which creates a sense of urgency. If it stays the same the whole time or even goes the other direction, that lessens the intensity (though perhaps in some situations at the right time, that might be what you are going for).

The longer you can hold off a resolution, as the resource continues to diminish, the more intense the moment becomes.

(Arguably, being limited by a resource also overlaps with time, in the sense that once you run out of the resource, you run out of time.)

Driven by Destination

Convergence can also be created through a set destination. In The Land Before Time, it's established that Littlefoot and his friends must make it to the Great Valley (aka, paradise), and they must survive a perilous journey to get there. The audience sticks around to see if they succeed. Similarly, In Dante's Inferno, there is a spiraling path into the depths of Hell, with the destination being the ninth circle.

Hartmann explains that we can also create a sense of convergence by showing two characters journeying to the same place. As an audience, we watch as each person draws closer and closer, and we anticipate each character's arrival.

Even something like a map is effective, as it conveys to the audience that there is a place the character is moving toward.

On the flip side, I'd like to add that the arrival of a threat works too. Rather than the protagonist going, it could be an antagonist coming.

Convergence can work well at any structural level--scene, sequence, act, or overall plot.

When the audience has the promise of a future moment, it sets up a sense of direction.

And as writers, we want to give the audience a sense of direction.

Because remember, often what's effective isn't having no idea of what's going to happen, but not knowing which is going to happen. Even if you want to be "surprising," the most effective surprises are ones where different expectations have been set up. (More on that concept here.)

Once we have promised convergence, we want to remind the audience of the impending moment (without going overboard of course). Elsewhere, I have heard this referred to as giving the audience forewarnings--we want to show that we are getting closer to a definitive moment that forces significant stakes. In Back to the Future, people disappearing from a family photograph is used to remind the audience of an impending moment, the instance where Marty no longer exists.

In an early draft of my first novel, I made the mistake of undercutting and diminishing convergence, in part because it felt too formulaic and like a "convention" to me (you know how writers can be about such things in the beginning). What I didn't understand is that it's part of good storytelling--whether it's the journey to pirate treasure, making it to the end of the school year, stopping the permanent affects of a curse, meeting an application deadline, saving Christmas, preparing for the arrival of a dragon, or running out of water.

Beyond that, I also feel that convergence plays a wider role; in a well-structured story, you'll see that multiple elements of the story will come together and "converge" during or near the climax. For example, often the internal conflict, the external conflict, the thematic conflict, and (in some cases) even the relationship conflict or societal conflict or nature conflict, will all come to a point at the climax of a story, for maximum impact. Similarly, the climax often marries the "Ordinary World" with the "Special World." But I don't want to muddy the concept too much today! As that's sort of a different school of thought on the concept.

#writing tips #Writing tips and tricks #Writeblr #writing help #fanfic #nanowrimo #plotting #convergence #writer #editor #author

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hanbereviews · 3 years

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Okazaki Kei Route Review

After an (admittedly long) hiatus we’ve returned to continue this review series and hopefully finish it off! Our third character is Okazaki Kei, my second favorite character in the game. Kei’s a well meaning security specialist who was assigned to protect Yanagi’s team, but you soon learn pretty early on he’s a glorified spy meant to report their movements back to the police. While I loved him as a person, I have a few qualms with his route. Since it’ll be harder and harder to give my honest opinions on a route without putting in spoilers, this review will start to get fairly SPOILER HEAVY. So be aware if you’re looking to play this game and spoilers will diminish your enjoyment.

Characterization

Okazaki Kei is an incredibly complex individual that is more than he seems from the get go. Considering the common advice is to play Enomoto, Sasazuka, then Okazaki’s route in that order you can view it as the game ramping up the stakes. He’s a seemingly easy going guy housing dark secrets and a host of issues that would probably be tough for a therapist to work through in real life.

And I think the game does a very interesting job of portraying them! Kei balances a lot of charming moments with the more intense ones just enough to get you invested in him and wanting more. His infatuation with Ichika, and by consequence the issues of an insane martyr complex and a possessive streak crops up slowly enough and is properly explained enough that you don’t feel like it’s a case of her being a mary sue. Okazaki is insanely affectionate, and it feels natural to his character in such a way that you think he’d behave this way with anyone. Which makes genuinely becoming closer to him in the story so much more satisfying!

Okay I know I’m seriously gushing about him and his route certainly has its flaws, but I honestly suspended a lot of my disbelief for those flaws. That is to say, the whole way he solves his martyr complex kind of does rest on the power of heterosexual love. But the average otome enjoyer isn’t coming to the genre to see a plotline happen where a man gets six months of therapy.

Plot Relevance

Following up on Sasazuka dealing with a member of Adonis, Okazaki does the same thing. While a lot of his conflict is primarily focused inward, the game doesn’t deprive you of a glimpse into the greater narrative and in fact connects the two fairly easily.

On Ichika’s end, I have to say she did a fair bit of detective work here, most of it actually. Kei is firmly categorized as the brawn, a security guard, so a lot of times Ichika is bouncing ideas off him and taking initiative in the case. A breath of fresh air after dealing with her kind of being made out to be a bumbling idiot in Sasazuka’s route.

Now the greater plot, is um, a piece of work. Okazaki’s route connects his internal conflict with Adonis. We’re shown a flashback of an assassination attempt on the prime minister, and Okazaki mistakenly attempted to save someone instead of committing himself to the job. The consequences were drastic, his partner dying to keep him safe. Except he finds out soon after that same partner was a mole for Adonis, and had a big hand in the assassination attempt. Kei is so traumatized that he develops the martyr complex that I mentioned just a few paragraphs earlier! He latches onto Ichika, because he projects a standard that she’s worth dying for. The narrative makes it clear it’s not because it’s Ichika, but rather because she was in the right place at the right time.

So you expect a lot of the plot to be devoted to this right? Well, yes! But also no. Kei’s Adonis pair is a man who’s part of organized crime and was a former police officer. He grew increasingly dissatisfied with his job, being abused by his superior and constantly having his accomplishments stolen from him by said superior. As a result he grew so discontent with the police force he turned to crime. This is a very touchy and nuanced subject don’t you think? Exposing that police as an institution is rife with the ability for cops to be crooked, combined with them lording their authority over others.

Well the game handles that with all the gentleness of taking a bat to someone’s window. The greater plotline plays out like such a weird pro-cop PSA that I felt kind of disoriented over it. You obviously can’t easily forget that this game is about the police as much as it as about dating guys. But I felt like I was getting slapped in the face over and over with “You NEED cops to protect you. Cops must ALWAYS be there. Corruption is only a few bad apples. Cops are IMPORTANT.” Like, I thought I was playing an otome game. Not debating the police’s general usefulness. And its especially stupid because Kei isn’t even a sterotypical cop! He’s specifically trained in security detail, you know, GUARDING people. Not chasing down criminals! Why was I getting this force fed to me on his route of all places?!

Character Interaction

This is where no exaggeration, the route was saved for me. Kei was accompanied by a junior officer named Hideaki Yoshinari who is effectively his right hand man, and their interactions are as funny as they are endearing. This also gives Ichika a handy outside character to talk to. This, combined with her speaking to her friends in the police force means she gets a wealth of outside interaction until the narrative closes her off a bit. However there’s actually a good explanation this time! I mean, if you can take Kei effectively being the game’s yandere as a good explanation.

Kei and Ichika’s interactions evolve in such a way that are incredibly interesting and pretty well written to me. Kei starts out infatuated with the idea of her, and with the idea of dying for her. He flirts, he gets touchy feely, and he makes her heart flutter. But it’s all in service to himself, and his inner monologues don’t really shy away from that fact. I mean, eventually they do truly fall in love. But Ichika growing to like him and thus not checking out of their potential relationship when she does catch wind of his freaky martyr complex, instead helping him work through it is super nice. And just to mention, the CG below the plot relevance header is an awesome and tension filled moment. Definitely surprised me a little bit.

This is a side note, since I have nowhere else to put this but Kei’s um. Incredibly horny. I don’t know how else to put it, but we ramped up from rather vague innuendos and CGs that didn’t amount to much, to Kei openly talking about having sex with Ichika before the route’s climax (joke completely unintentional I swear). I mean this game is for adults, and every character is in their mid to late 20s, but still with how strong he came on I was shocked. I don’t think it helped that I’ve played pretty much every popular game Yuki Kaji has been in, and hearing the voice of the quintessential guy you call when you want him to play either screaming asshole or normal dude talk about how much he wants to have straight sex with you is crazy.

Final Thoughts

I am being completely serious when I say even though I am giving this route a low score that Kei is still perhaps one of my favorite characters in the game. It’s too bad that the greater plot that intersected with his internal conflict was 5+ hours of having copaganda shoved down my throat. I indicated when I started this review that I don’t have good opinions of the police due to the aforementioned issue of my being black, and police in every country have a very very dark history of abusing their power. So I’m not going to act like that didn’t severely lower my enjoyment.

I’m giving this route a 6.5/10.

But like I said, Kei’s an extremely compelling character. So if you include my completely loving him, maybe you can inflate that rating by about 2 points.

#hantome review

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pynkhues · 4 years

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Since you're a writer, I'm hoping you can shed some light on this. IMO the writers were chasing viewers in S2 and trying not to get canceled. Personally, I hate when writers toy with their audience, it means they don't have a clear picture of their characters and narrative. How do you feel about writers making it up as they go?

Ah, this post got really long, anon! Since you asked me as a writer, I’m answering as one (I hope you don’t mind! I also hope this doesnt come out as too Creative Writing 101 for people either. This is just lessons I’ve learned and use in my own practice, so I’m applying them here.)

(Also I have drawn horrible diagrams on my very pink notebook paper - I am so sorry, haha)

So first thing’s first - no. I don’t think the writers were chasing viewers (at least not beyond the way any writer is wanting an audience), and I don’t think they were making it up as they go really, but I can understand why you would think that way!

It won’t be a surprise to anyone that I love this show a lot, but coming from it as both a writer and editor - this show does have narrative problems, and the biggest ones, particularly in s2, are in execution, escalation and pacing.

I think heading into the season they had certain character arcs they wanted to follow which married well with the story they wanted to tell. In particular, I actually think the writers have a very strong handle on the girls (I will say that I’ve had a few asks telling me Beth’s characterisation is all over the place, which I’m curious about, just because I personally find her very consistent, and when I’ve asked for clarification, I’ve never gotten any reply, so ¯\_(ツ)_/¯)

I mean, look at their s2 arcs on paper, right?

Ruby tries to negotiate Stan’s lowered opinion of her after the reveal of what she’s done, then has to negotiate him telling her to turn Beth and Annie in. She manages the situation painfully but pulls them through and they’re close again as Ruby navigates the increasingly lower depths of their crime life. When Stan acts to save Beth for Ruby and is arrested, it only escalates – the case on him driving Ruby to extremes to try and save him, including robbing a Quick Cash and using counterfeit money to bribe a lawyer. On top of that, she’s being targeted by an FBI agent who’s after her best friend who she gives up and then saves and then who tries to sacrifice herself for them. Ruby finishes the season the most morally compromised she’s ever been.

Annie gets back together with her ex only to find out that he’s gotten his not-quite-separated-wife pregnant. She splits up with him, but is heartbroken and it’s only amplified by the fact that they’ve been given a job by their Crime Boss to murder a man who tried to rape her but who’s grandmother she has a relationship with. Her sister can’t kill him, and Annie doesn’t get the chance as MP beats her to it. Upon disposing of the body though she endures a whole lot of pain as a result of both her ex’s new family and knowing she’s robbed a woman of her own. Annie goes on a guilt tour – tells her son, helps Marion, helps Nancy only to eventually find an absolver of her guilt in Noah, who builds her up and tells her she’s more than what life has given her. She lets herself have it for a while, before realising he’s FBI and there to trap her, and Annie tries to use him only to realise she can’t, and she finishes the season in a lot more hurt than she started it.

Beth struggles with guilt after getting Dean shot, gets the job to kill Boomer from Rio, can’t do it, gets support and encouragement from him (in various states of animosity), but in the end doesn’t have to find out if she can do it because MP does it instead. She’s rewarded by Rio in a way she probably never has been by anyone, her husband further subjugates her, so she has sex with Rio, starts to entertain a future with him, but he undermines her, so she seizes control from him. They work together. Dean forces her to break up with him due to jealousy, she struggles, goes back, but Rio’s stung, so unhelpful, and they play a little cat and mouse before he bails then kidnaps her and she shoots him.

With the exception of that very last sentence, I think all of those are narratively really strong pathways to have explored. Like I said above though, the issue is in execution, escalation and pacing.

But to talk about those things, I think I probably need to talk about story.

SO!

Stories have a shape.

Kurt Vonnegut talks extensively about this, and while he’ll talk about a few different types of story shapes, they really all boil down to this bad boy here:

Look at this guy.

What a beautiful thing.

He’s a story.

It doesn’t matter if you’re reading Dr Seuss or Charles Dickens, when you read a story – when you strip away its words and its characters and its settings – this is what it looks like.

Or, well.

Not quite.

Really, it’s this guy:

But we’ll talk about him in a sec.

Right now, let’s talk about that first little inch:

The Beginning

The fact that stories have a beginning is not a surprise to anyone. Stories need them. In some ways, they’re the most important part of your story. After all, the job of the beginning is to set up the world your protagonist is about to leave behind. That is essential in grounding a reader / viewer – orienting them to the world that they’re in, and getting them invested in the story you’re about to tell, if not the protagonist.

Lord of the Rings, Harry Potter, Star Wars, Game of Thrones are all excellent example of this (and frequently used in teaching) because in each of these cases it’s literal. Frodo leaves Bag End, Harry leave Privet Drive, Luke leaves Tatooine, the Starks leave Winterfell. There is a literal departure from the world before the crux of the story, and that departure is what signifies the start of the ‘hero journey’ aka the main part of your narrative.

Of course, it’s not always literal – in fact, it’s usually not. Usually that world is symbolic – it’s the single, uncertain world before the Bingley’s buy the house next door in Pride and Prejudice or the dry domestic sphere of Breaking Bad before Walt decides to make meth. It’s a marked shift, whether that’s internal or external.

In Good Girls, it’s internal.

The beginning is actually pretty perfect. The world it sets up that we’re about to (try to) depart is one of struggle and invisibility.

Beth’s in a loveless marriage promptly discovering that her husband is not only cheating but about to leave them destitute, Ruby’s getting ignored by the healthcare system and can’t afford to pay for her daughter’s wellbeing, and Annie is in a dead end job about to lose custody of her child.

Writing-wise – as a beginning, I honestly think 1.01 is close to perfect.

It sets up who these characters are, their personal conflicts, and the story world they share together, and the worlds they have on their own i.e. Ruby at the hospital and the diner, Annie at Fine and Frugal, Beth with Dean and Boland Motors.

Then:

BOOM

Inciting Incident.

The inciting incident is also often called The Point of No Return.

When I’m teaching, I personally like to call it the “You’re a wizard!” moment.

It’s when something happens that means everything set up in the beginning will be changed forever. It’s Romeo meeting Juliet, it’s Katniss volunteering for Prim, it’s Frodo deciding to take the ring to Mordor, it’s Jaimie pushing a child out a window, it’s Beth – deciding to take her little sister’s joke seriously and rob a grocery store.

(Again, I like to use Harry Potter because it’s literal – there is no return for Harry after hearing Hagrid tell him he’s a wizard. Everything is changed forever).

Inciting incidents are probably the most singularly important narrative moment, because they’re what everything else tumbles out of. Pretty much everything that happens in the story should be a direct or indirect result of the inciting incident. The inciting incident is ultimately the key of the story and what should unlock the overall arc.

When it comes to a series – whether that be a TV series, movie series or book series, each individual instalment (see: season of a show) should have its own inciting incident which – preferably – builds off the one established in the first instalment.

The Hunger Games does this really well. Katniss and Peeta being brought back into the games in Catching Fire is both an imitation inciting incident which allows the author to explore the story world further in an exciting way, and also an inciting incident that’s directly borne out of the first book / film – aka Katniss pissed enough people off during the first games that they’re going to try and kill her for real this time, which in turn gives us the opportunity to explore Katniss’ trauma, the ramifications of her actions in the first book on the broader story world, and to generate a new, compelling chapter based off of both.

Good Girls has a terrific inciting incident in s1 – which is Beth realising she’s about to lose everything.

That is our narrative point of no return.

And it works on a lot of levels – it establishes Beth as the driving engine of the story, fuelled by the chorus motivations of Annie and Ruby, rounding off both their collective and individual stakes, it sets us up for a strong narrative spine and solid characterisations.

Good Girls actually also has a terrific inciting incident in s2, which operates strongly on its own while also building firmly off the character arcs of s1.

The s2 inciting incident is Rio showing up on that park bench with Marcus, a gun and an order.

The story pivots here – giving Rio a lot of narrative thrust (get your minds out of the gutter kids), and making him a sort of secondary story engine. The core engine is still Beth, but her life is different now. She’s been traumatised and she’s exhausted, but Rio revealing his son to the girls (and tying their motivations up together in a neat little package) while forcing her to act, re-establishes her as the person who’s decisions are going to be the driving force of the narrative.

Ruby and Annie are, of course, story engines in their own right too, but they fall into line behind Beth usually, and their narrative push is actually usually away from the story throughline, but we’ll talk about that in a sec.

Rising Tension / The Middle

Okay, this is where things get a little tricky.

Do you remember this guy?

When we talk about stories, rising tension / the middle is the big guy. It’s the bulk of your narrative. It’s Where Things Happen. It’s where all the ugly stuff set up in your beginning and exploded by your inciting incident just - - grows a life of it’s own.

Or - -

Well.

Maybe not.

Forget about this guy.

Rising tension is this:

Rising tension is a series of ‘mini climaxes’ on the way to the main climax that raises the stakes, lets you know characters better, and pushes your characters onwards to the main climax.

Each of these little climaxes should be followed by a ‘narrative rest’. (that’s the dip after each spike)

Which - - I don’t know, might sound weird? I know when I started writing I was like ?? but it’s true! The closer you get to a big narrative climax, the more important rests are! Rests are – I personally think – one of the most important components of storytelling, because they re-ground an audience, remind them of what’s at stake, before thrusting everyone back into danger.

Again, Harry Potter is a gift in this sense because this is all really clearly paced out. Think about the first instalment – Harry Potter and the Philosopher’s / Sorcerer’s Stone.

Harry and Ron save Hermione and Ron from the troll!!!

Then they become friends and enjoy school and quidditch.

Harry loses control of his broom during a quidditch game!!!!

He’s okay and then it’s Christmas and Harry gets the invisibility cloak and feels connected to his parents for perhaps the first time in his life.

Harry, Hermione and Ron go through the trapdoor to get the philosopher’s stone!!!

And - - okay, you get the point.

Each mini climax ups the stakes, but we feel those stakes upped because of the time we spend with characters during the ‘narrative rest’. For instance, while Harry and Ron saving Hermione from the troll might have sparked an interest in her, it’s the narrative rest scenes between that and her setting Snape on fire during the quidditch game that makes us invest in her as a character.

This is where things get a bit hairy with Good Girls. Good Girls does a tremendous job of giving us both great climaxes and wonderful moments of narrative rest. The issue, for me at least, is that it’s not always the best at balancing them. When I talk about escalation and pacing, this is a big part of what I mean.

Remember how I said this was the shape of a story?

Well, I think Good Girls s2 looked more like this:

We had a lot of solid movement in the first half of the season that sort of flattened out into a lower stakes, more meandering middle (which gave us 2.08 through 2.12). Which - -

Look.

The story changed gear, and it didn’t work.

Think of it this way:

2.01 – mostly character-based fallout from s1 + inciting incident of Rio handing them the gun

2.02 – almost entirely rising tension culminating with the girls bribing Boomer and Beth lying to Rio

2.03 – which thrusts us straight back into rising tension with the girls trying to kill Boomer and ‘succeeding’ via Mary Pat

2.04 – which gives us a very satisfying narrative rest as we explore Rio and Beth’s relationship outside of an overall narrative thrust – he gives her a key, she shies away from him, only to fall entirely back into him culminating in sex which itself brings about a new climax (no pun intended!) in the scene with Beth, Rio and Dean at the dealership. It’s also a strong character episode in closing certain plot threads – ending Annie and Greg’s relationship + ending Ruby lying to Stan about what they’re doing – while establishing major new threads – i.e. really colliding Turner and Mary Pat.

2.05 – and after the rest, we’re back to almost entirely satisfying rising tension! Building off of the threat of finding Boomer’s body and the new tensions that Rio and Beth’s intimacy brings.

2.06 – a mix episode! Very much building to the strong climax of Beth seizing power, but also an episode that plays around with character, has a lot of strong ‘rest’ moments i.e. the girls sorting pills and talking which gives us a lot of information as to state of minds, etc.

2.07 – again, very strong mixed episode which is focused on one single, extreme climax – Jane being missing, but building a very character-centric episode around it. Also introduces Noah though? Which is a mistake. He should have been introduced - I think, in 2.05, but that feels like a whole other post.

2.08 – narratively speaking the same as 2.07 in the sense of a single climax (the girls failing to get the money back / the Beth-Ruby confrontation), but has the added bonus of flashbacks.

2.09 – we have a slight narrative thrust with the robbery of the Quick Cash but it proves very quickly to be low stakes. This is an alllll emotional stakes episode, which means narrative tension is slowing.

2.10 – again, a character-focused, narrative rest episode devoted to Beth struggling with getting square. A few small climaxes – Annie and Ruby in Canada and Turner at the dealership being the big ones, but both quickly prove toothless. The heft / strength of the episode again is in character moments, not narrative thrust. Again - slowing it down.

2.11 – oh, what do we have here? Another character-focused, narrative rest episode? I love this episode – it’s one of my favourites of the show, but it’s intensely character focused. Very much centred in waving away the smoke around both Noah and Rio for Annie and Beth respectively. No dramatic climaxes. Slowing the story down even further.

2.12 – another narrative rest episode. A lot of slow exposition of Mary Pat and Jeff, which is good to know, but I’d argue placed badly in the season. This season’s already been slowing down despite the narrative timeline tightening, but this episode only further pushes on the brakes for Dean’s new job, Beth and Dean’s divorce, Beth and Rio’s break up. Two very small climaxes - the lawyer telling Ruby he knows about the money and the Boomer reveal but - in the context of the season - actually pretty low stakes. Again. Slowing down the narrative.

2.13 – A BIG CLIMAX EPISODE WHAT IS GOING ON???

What I’m saying in this is that the pacing in the back half of the season was, to me at least, fundamentally off. They hadn’t steered a strong enough narrative spine to take us through the season, and got heavily invested in character moments and not-entirely-thought-out-fallout in the back half of the season – it didn’t understand it’s own narrative thrust well enough to get us through. It also established a certain pacing with us in the first half of the season and shifted gears halfway through.

You can’t have your first three or six episodes be high-stakes-high-action, and then make the back end of your season same-stakes-low-action and top it all off with an explosive, poorly built-up finale in the way that they did.

There wasn’t enough thrust to push us through to the scene in Rio’s loft – neither narratively or in a character sense, and as a result, those last few episodes fall apart. Even beyond that though, the season escalated quickly then - - didn’t really know what to do with those escalations? It plateaued, which is indicative of bad pacing across the season.

I actually do think it’d be a relatively easy fix? I’d bring the Noah arc forwards and actually fiddle with the Beth and Rio break ups - get one even closer the tinale and make it more painful. Make it a climax in itself.

But anyway, haha:

The Resolution

All stories have a resolution too of course.

The resolution can be 30 seconds or 30 minutes – it’s a time to tie up loose ends and to reassure your audience that the journey they’ve been on is worthwhile.

(After all – you’ll notice the story diagram is not symmetrical – we never finish where we began).

I’m not going to talk too much about resolutions because at the end of the day – resolutions should fall fairly naturally out of your beginning, your inciting incident, your rising tension. It should tumble out like the double wedding at the end of Pride and Prejudice, but I will say that the s2 resolution was...err, not good. In no small part because it didn’t fall out of what we’d been told all season. They’d established a certain throughline and then taken it back, and that was nagl to be honest.

On the plus side though - it wasn’t a finale, so I have my fingers crossed they can fix it!

But yes, back to your ask, anon.

No, I don’t think that the writers were pandering. I think they went in with a sketched outline and that they probably got lost in the back end of the season and weren’t quite sure how to drum up the final act, which meant that final act didn’t work.

Ah, this post got so long! I hope it wasn’t boring or too self-indulgent or silly, and that you got something out of it! I am, of course, always happy to answer writing questions, and I hope you liked reading my story ramblings ;-)

#writing posts #gg season 2 #welcome to my ama

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curious-minx · 4 years

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A ranking of four 200 Hundredth Episodes: Bob’s Burgers’ recent victory lap stands above the rest

The Bicentennial. How many among us get to be a part of something that get’s broadcasted for over 200 episodes? In the world of animated sitcoms it is a small, Fox dominated burrow. Bob’s Burgers is the latest series to become bestowed with this particular honor, and is possibly the best of the Fox line-up to do so. Family Guy’s 200th episode, Season 11 - Episode 12, is the only Fox series to be given a full blown on-air anniversary treatment. The episode is a Valentine themed Brian and Stewie lark and like all of the other entries on this list celebrates it’s 200th episode anniversary in a more casual, blithe fashion. Family Guy is the only show Fox has bothered to air an entire half hour special, but months before the actual airing of the 200th episode in Februrary. I am deliberately skipping over Family Guy and South Park’s 200th episodes. In the former’s stead I chose to watch American Dad’s 200th episode, because McFarlane is such a titan in adult animation that deserves recognition. The South Park episode is too exhausting for me to get into. South Park’s 200th episode, Season 14 - Episode 05, is the one that evoked the wraith of a New York based Radical Muslim organization that would soon be “shut down” (i.e. members arrested) a few months after the episode aired on April, 2010. The 200th episodes of South Park and the Simpsons are the only two series to have received Emmy nominations, and in Simpsons case a win, due to their 200th episodes. Here’s hoping for Bob’s Burgers to get a similar recognition, because I think its 200th episode is pretty special and straight to the point.

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1.) Bob’s Burgers - “Bob Belcher and the Terrible, Horrible, No Good, Very Bad Kids”

Out of all the 200 episodes is episode the most consciously in conversation with itself. The 200th episode has been treated with a reasonable amount of respect with The A.V. Club bringing their Bob’s Burgers coverage out of retirement and Variety and Salon also got into the mix. Gotta be honest a part of me over at The Curious Minx would prefer if the Bob’s Burgers recap lane was kept on the narrower side, but on the other hand this is a fabulous series that should be written about by as many different publications.

In a recent tired and routine zoom Variety interview (https://variety.com/2020/tv/news/bobs-burgers-remote-recording-200th-episode-1234830796/) BB’s creator Loren Bouchard touches upon how this 200th episode is supposed to serve as something of a pilot. An episode so fully realized that even if you are someone with no active bank of knowledge about the Bob’s Burgers minutiae of the Belcher family dynamics and still enjoy this episode as much as a full blown series fan. The episode is written by Steven Davis, a producer and writer with an extensive amount of episode writing and producing credits on Bob’s Burgers. The quality of a Bob’s Burgers script in the pandemic era is becoming more relevant, because of the diminished role of improv, and this episode definitely feels crafted by a creative team fully in touch and aware of their characters and how to put them in satisfying situations.

Compared to any of the other animated sitcom families, the Belchers are noticeably the more lower middle class. There is a pervading sense of an overall struggle for survival and prosperity that is cooked right into the series pilot debut. Season 1 - Episode 01 “Human Flesh” sets the tone of the series, despite the overall writing and characters being sharper, the stakes have not changed much. Bob’s Burger’s like any American restaurant not under the protective aegis of a Big Franchise is in a state of perpetual turmoil. In the pilot episode the difficulties of running a standard American restaurant are made even more complicated by dysfunctional family hijinks.

The 200th episode differs from the pilot in one dramatic way and that is the presence of the extended Belcher family member Teddy. In the original pilot Teddy is completely absent, whereas in the 200th episode Teddy’s role as surrogate family member is made even most distinct by having Teddy being invested above and beyond in helping save his pal’s Bobby’s restaurant. The return of the ornery and quirky Health Inspectors Ron and Hugo are serving as the most obvious form of echoing of the pilot. I highly recommend rewatching the pilot after viewing this episode, because I had completely forgotten that the Belcher’s saving grace is that Hugo and Linda were once in a relationship together. The pilot is noticably very contained setting wise, focusing exclusively in and around the Belcher family restaurant. Whereas, the 200th episode explores more settings with the Belcher children going across town to find a replacement for Bob’s broken oven part, an oven that they feel they are entirely to blame for destroying. A couple of celebrity guests Stephanie Beatriz and SNL’s Kyle Mooney that true to Bob’s Burgers spirits are usually just playing characters of little to no consequence. Unlike the other Fox family in this list that really leans in on having celebrities playing themselves, the best celebrity guest appearances on Bob’s Burgers tend to be the most anonymous, and Kyle Mooney’s put upon hardware store clerk is a great example of this.

Finally, I’d be remiss if I didn’t dwell on the satisfying Linda contribution of the episode. Linda makes the critical set piece that ignites the restaurant fire. Linda’s gnarly mermaid sculpture is a great visual metaphor for the series. Especially when the Mermaid Statue is used to build up a very well constructed song-based gag. The whole episode made me feel really good about the state of the series and especially the Movie (And Loren Bouchard backs this up by giving interviewers the impression that the film’s delay has only improved its quality). As far as 200 episodes of long running animated sitcoms go, you certainly can’t go wrong with this one!

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2. King of the Hill - Hank’s Bully

By all accounts the most unremarkable episode on this list. An episode that also has a trollish spirit that gets a sadistic glee in tormenting the fuddy duddy Hill patriarch. This is the also the 200th episode with the lowest stakes, the least of a spectacle, and most unassuming 200th episode. While trying to research anything of note to include in my review of the episode all I could find was this reddit post (https://www.reddit.com/r/KingOfTheHill/comments/bpl235/hanks_bully_was_near_impossible_to_watch/) where a user is criticizing the way in which Hank it mistreated. When I was rewatching this episode my partner also found this episode hard to watch and sympathized with Hank’s plight against a Clifford-like malicious imp of a hateful child who’s sole purpose is to make the lives of everyone else around him more difficult.

To me what most stands out about this episode is the fantastic direction by longtime King of the Hill animator, former Bob’s Burgers animator, and current Rick and Morty director, Kyoung Hee Lim. A seemingly badass woman working in a field that is not particularly kind to women or to women of color. I am pretty shocked that no one in all of her years as a director on some pretty important shows has brought her up or did an interview piece on her. Maybe this is something the good folks at The Curious Minx can aspire to? I am definitely going to be taking a further dive into the 22 episodes of King of the Hill that she directed and revisit the 15 episodes of Bob’s Burgers to see if I can discern what makes a Kyoung Hee Lim episode.

One major ploy detail that I noticed in this episode, a detail that is also oddly prevalent on the other two 200th episodes, is the trash talk. And by that I do mean literal trash talk. The B-plot of this episode is what makes the episode pop for me in that the pairing of Dale and Peggy is a really successful one. The episode finds Dale frustrated with the Arlington Waste department and how they won’t take his refrigerator full of dead squirrels and his freeze full of dead crow. Dale then takes advantage of this dead blessing in disguise by getting into the world of competitive taxidermy with Peggy’s creative eye complimenting Dale’s gruesome technical prowess. Both of these characters operate on such an oddly similar wave lengths that watching the two of them embark on a taxidermy journey together was strangely touching and fun to watch. And I am a vegan that feels weird about killing animals in video games, but the ending visual gag of the episode is especially inspired. My one complaint is that the episode is severely lacking in Bobby Hill. Probably because I just recently finished watching Better Things and basically want every show to be the Pamela Adlon show all the time.

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3.) American Dad - “The Two Hundred”

Visually and conceptually this 200th episode really impressed me. As previously mentioned at the start of the post, I am not someone that is particularly warm to the McFarlane brand of comedy, but American Dad really is where he saves his best work for. This 200th episode got the complete opposite treatment of Family Guy. Airing on a Monday night on TBS this episode was pretty much given a shrug, but that does not tamper down any of its ambitions. The whole episode is basically a pastiche of Apocalyptic Dystopian alternative timeline tropes centering around an alone and traumatized by his past Stan. The episode has one of the most clever ongoing visual gags I have seen on a show where flash backs are teed up by Stan’s ridiculous new post apocalyptic tattoos. The core family and ancillary characters of American Dad are all given terrific moments to shine in this heightened post apocalyptic hellscape, and the key to any enduring series success if whether or not you can tell that the creatives involved respect and enjoy the characters that they are writing for. This being a McFarlane project there are a couple of embarrassing lines of dialogue from the show’s respective gay and Black characters and an over indulgence on Rodger based humor, but overall this 200th episode left me with more appreciation for this series as a whole. I will still always make sure to appreciate whenever a long running creative property takes stylistic swings and risks.While there is nothing particularly fresh or novel about a cannibal laden post apocalyptic wasteland this 200th episode managed to find some find fun character beats to subvert tropes or double down on them. The visual of a consistently on the move runaway train that is also mysteriously always on fire was also especially well executed. This episode could easily have been a series finale if the series hadn’t already played around with alternative timelines like in their Christmas specials.

This episode also features more trash talk! One of Stan’s tattooed regrets revolves around Francine failing to get the trash picked up on trash day because Stan had purposely neglected to take it out. This rather odd pattern is about to make a whole lot of sense with the fourth and my least favorite 200th episode by the Simpsons.

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4.) The Simpsons - Trash of the Titans

How many more times can I impress upon you that the 200th episode of your animated sitcom is an an occasion for trash talk? One more time. This 200th episode of The Simpsons is by far the most trash centric 200th episode of them all. The first animated adult sitcom to get over the 200th episode hump, the 200th episode “Trash of the Titans” has some fun real-world trivia attached to it, but other than that this is one of the lesser “Golden Era” Simpsons offerings by a long shot.

My primary source on contention with the episode lies in the direction Homer takes in most of the episode. A 2016 Uproxx (https://uproxx.com/media/simpsons-donald-trump-hillary-clinton/) article gained traction and a Wikipedia citation by comparing Homer’s antics to that of possible former rising Dictator Donald Trump. The episode involves Homer acting at his absolute most abhorrent in an election to boot, and his behavior in this episode is some of the most irredeemable Homer has ever been. The article oddly neglects to make note of the fact that Homer in this episode also makes similar slights against Mexico, referring it to an inherently “dirtier” country. The episode ends on a truly groan inducing aged as fine as old socks in the cheese drawer with a crying Native American gag. Ah 1998 when we could pretend that the Crying Native American commercial was just silly social commentary and not racial minstrelsy.

There is also one other instance that didn’t sit well with me and that’s when Homer is seen physically assaulting a woman working the booth at a U2 concert. I could handle the bullish descent into crooked politician, but watching Homer violently push a woman out of the way felt out of place. A retread of all the growth and development we’ve seen him go through over the course of 200 episodes. Of the other three patriarchs discussed on this list a Homer Simpson centric plot tend to not work as well for me especially if you compare him to the other animated TV fathers.

The episode also features two celebrity guest spots. One made by Steve Martin who does a good job becoming more or less unrecognizable as the original Springfield Sanitation Commissioner Ray Patterson. The other celebrity guest appearance is more of an ill-portent of signs to come with U2 playing themselves. Whenever a celebrity is playing themselves on The Simpsons it usually does not work out. Not everyone can be used to advance a plot as seamlessly as Barry White. Although it is funny, funny in a “oh, we were so much simpler” sort of way that this episode garnered controversy and a ban on UK television over U2 and Mister Burns’ use of the word, “wanker.” Flash forward to 2009 and Bono is once again throwing around his favorite cheeky pejorative this time in reference to fellow earnest bland frontman Chris Martin (https://www.music-news.com/news/UK/24741/Read).

Resting Wanker Face

The other fun factoid about this episode once again is not related to the show, but the show’s influence spilling out into the real world. In the late 80s and throughout the 90s, Adams Mine was an abandoned pit located somewhere in Ontario situated in a term I’m learning for the first time, the “Canadian Shield.” An exactly similar proposal is made by Homer Simpson during his reign of Sanitation Commissioner. This sweeping of trash under the rug does culminate into a satisfying visual gag as a climax that feels like a Garbage Pail Kid/Toxic Avenger version of Cloudy With a Chance of Meatballs. More bizarrely and unfortunate, this episode also aired a week after the passing of Linda McCartney. How messed up is that? Couldn’t they just have waited at the end of the season or at least on an episode that doesn’t involve wallowing in filth?

The episode features another developing bad habit in terms of the inclusion of songs and song parodies. There is virtually no connection to Willy Wonka in this episode other than the fact that both “Candy Man” and “Trash Man” have share a similar pronoun. Unlike the use of songs in Bob’s Burgers where they tend to be unique to the character’s reaction to dramatic consequence, on the Simpsons it’s more often than not a a song for the sake of a song. That’s not necessarily a bad thing, but why not go for a joke about parodying real musical trash titans, The Cramps, or even trash up a U2 song? On the episode’s Wikipedia entry in the Production section Matt Groening is quoted to saying that the visual gag of a department store sporting the slogan, “Over a Century Without a Slogan,” wasted a lot of man hours. So much effort and reach for a joke with a fraction of a minimal of pay off is essentially the Simpsons ethos in one visual gag.

Once again, it bears repeating that this episode is also rewarded for an Emmy. If you break down the episode as starting off as a satire of Holiday Commercialism with the creation of the cynical Love Day holiday and ending the episode as a foreboding parable about the very real ecological repercussions of improper waste management. This clearly sounds like classic Simpsons reverse engineering management. Instead this is a classic case of an episode of the Simpsons being more interesting to think about than it is to actually watch. This is also the 200th episode that least honors its central cast of characters. Marge and Lisa are both afforded meager moments of wisdom and decency, but Bart is more or less even more irrelevant to the plot than Bobby Hill was on his 200th episode.

As for today it seems like the only Simpsons anniversary that will likely rouse any more attention it’s way will be the 1,000th episode.. Think how much more trash we as a collective species will have made by the time that milestone roils around!

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In Conclusion:

When you start to make 200 episodes of anything the one feeling that seems to creep up is one of, “taking out the trash,” or you’re making art out of trash. Trash being a metaphor for the entire medium of Television. The TV market is an ever growing landfill, one of America’s Rapiest Dads made a whole cartoon about kids living and learning life lessons in a junk yard. So much of Television is only a means of mass marketing ground up pieces of detritus. Then you’re supposed to be grateful that your detritus gets to be a bumper for advertisements and the occasional merchandising. You’re an adult, you’re not supposed to take cartoons seriously. They are empty calories, brain noise, and at best background noise. Yet they are the only types of shows that can consistently manage to get over well over the 200 episode mark. At least back before the Netflix business model of show’s only deserving 1.5 seasons.

Bob’s Burgers is reaching its 200th episode in an unfathomable media landscape, one that is completely demolished and in the process of being rebuilt from the aftermath of the coronavirus. The 2020s could be a turning point for animation going forward, animation is a severely grueling and technically difficult sector. This newfound interest in the medium may finally be the financial boost and support that it dearly needs in order to properly pay artists for their work. The creators of these series may not think of what they do as art and to keep themselves afloat have to think of the act of bringing an animated sitcom into the world as necessary as taking out the trash. Our trash is a mirror. Inside the landfill we see our own morals and values reflected right back at us. Bringing forth life means a lot of shit. With every year you keep an infant human alive that means (x) amount of disposable diapers piled up. I suggest we make like the Belcher children and try to salvage our trash, put a wig on our trash, put a crop top on our trash, paint some lashes on your trash, because we’re all in the end up going to be put into the ground (beef).

#Bob's Burgers #The Simpsons #American Dad #King Of the Hill #TV #TV Review #TV Series #Animation #Cartoon #Anniversary #200

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mediaeval-muse · 3 years

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Book Review

The Leopard Prince. By Elizabeth Hoyt. New York: Warner Forever, 2007.

Rating: 2.5/5 stars

Genre: historical romance

Part of a Series? Yes, Princes #2

Summary: The one thing a lady must never do... Wealthy Lady Georgina Maitland doesn't want a husband, though she could use a good steward to run her estates. One look at Harry Pye, and Georgina knows she's not just dealing with a servant, but a man. is fall in love... Harry has known many aristocrats---including one particular nobleman who is his sworn enemy. But Harry has never met a beautiful lady so independent, uninhibited, and eager to be in his arms. with her servant. Still, it's impossible to conduct a discreet liaison when poisoned sheep, murdered villagers, and an enraged magistrate have the county in an uproar. The locals blame Harry for everything. Soon it's all Georgina can do to keep her head above water and Harry's out of the noose...without missing another night of love.

***Full review under the cut.***

***Mild spoiler under “Other” section.***

Content/Trigger Warnings: sexual content, drunkenness, parental abuse, references to torture, sexual coercion, and animal mutilation

Overview: After really enjoying The Raven Prince and not really enjoying Wicked Intentions, I figured I’d read something else in Hoyt’s Princes series to see if Wicked Intentions was a fluke for me. Turns out, it might be The Raven Prince that’s the fluke. I had hoped I’d get a romance that was focused on overcoming class obstacles, and there was a little of that. However, I couldn’t really get invested in the main mystery or in the protagonists’ relationship, as it seemed both were surface-level and without many stakes until about 200 pages into the book. Thus, this romance only gets 2 and a half stars from me, not because the romance was problematic, but because I just couldn’t connect with anything that was happening.

Writing: Hoyt’s prose is fine for the genre she’s writing in; it’s not full of poetic expressions - it’s simple and gets the point across fairly efficiently. I don’t think that’s a bad thing for romances, as the point isn’t to wow your reader with elaborate metaphors. Hoyt knows how to reach her audience, and I commend her for that.

However, I do think she relied a bit too much on expositional dialogue. Characters will have extended conversations that deliver a lot of information - about their pasts, about the setting, etc. - and while I think most of it was important, I soon grew tired of being told instead of shown. I do think some expositional dialogue can work well - for example, if a character exhibits odd behavior for a good part of the book then reveals the origins of that behavior, I think that works because it keeps the reader wondering. But so much is dumped on us in the first half of The Leopard Prince that I felt like exposition was being substituted for purposeful craft.

Moreover, I think Hoyt’s shoe-horning of the fairy tale themes worked just as poorly in The Leopard Prince as in The Raven Prince. Georgina, our heroine, would babble about fairy tales at seemingly random moments, and the themes of her tale did not parallel the events of the book as a whole, which made the whole tale feel out-of-place. It felt like a gimmick rather than an integral part of the story, and I wish Hoyt had done more to make the two narratives parallel one another.

Plot: Most of the plot revolves around a mystery. Someone has been poisoning the sheep on the estate next to Georgina’s, and most people think it’s Harry, our hero, because of his past with the owner, Lord Granville. On the surface, it seems like a good setting for a plot about class; Granville (and Georgina) have all the power, and servants and villagers (like Harry) have to fight against that power in ways that don’t bring aristocratic wrath down on the entire population.

Unfortunately, it seemed like the mystery was treated as an excuse to throw the two protagonists together for the first 200 pages. Harry and Georgina would go around questioning people about the sheep, and the scenes felt incredibly insubstantial. Though Hoyt tried to show the stakes of the mystery by saying that Harry would be arrested and villagers would starve if the culprit wasn’t caught, there wasn’t much to make me feel like these stakes were real. We don’t really get to know any characters who would be threatened with starvation, nor did I care enough about Harry to be concerned with whether or not he was arrested (more on that below). Personally, I think this book would have worked a lot better if Hoyt had just admitted that the mystery was a secondary interest and Georgina was merely using it as a way to exercise her power over a servant. At least then there could have been some growth and an exploration of class dynamics.

Around 200 pages, my interest piqued a little more due to the intensity of the mystery being heightened. It’s also around this time that discussions of class were beginning to happen more frequently, which I liked. I do wish more was done in the first 200 pages to emphasize class difference so that when these conversations happened, they felt more significant - maybe Harry’s way of going about solving the mystery is based in his knowledge of the lower class, while Georgina gains them access to people and knowledge that is reserved for the gentry. Maybe there’s pressure for Georgina to marry higher because of some family history or something. I think reforming the first 200 pages to show off class dynamics would have gone a long way in making the barriers to the relationship and the stakes of the mystery feel real.

Characters: Georgina, our heroine, has some admirable qualities (like prioritizing the well-being of her tenants over her personal income), but other than that, she’s fairly useless. She doesn’t bring much to the table in terms of solving the mystery (she doesn’t use her status to gain access to people) and she seems completely ignorant in everything from how to run an estate to how to seduce a man. I don’t mind a little naivete in some heroines, but Georgina had no ambitions other than to get Harry into her bed. It made her feel shallow.

Harry, our hero, is devoid of any personality that would have made him interesting. He’s gruff and not really afraid to defy conventionality, but that’s mostly it. Granted, he does have his quirks - he likes to carve little animals out of wood, but as nice as that is, it didn’t really show much about who he is as a character - it was just used so that there would be something tangible to use to frame Harry for the sheep killings (a little carved animal is found at every scene). I would have liked to see more of a connection between him and the poorer villagers so at least it would have felt like he had more of a reason to be invested in the mystery. Granted, I think he gets more interesting around page 200, when his relationships with Bennet (his half-brother) and Will (a kid he pseudo-adopts) brings out more of his admirable qualities, like loyalty to family.

Side characters are largely bland in that they don’t do much. Georgina’s sister, Violet, has her own woes to deal with, but her plot seems to be a distraction, and Violet doesn’t seem to undergo much independent growth. Lord Granville is a bit too overtly sexist to be believable, but at least he’s consistent. Georgina’s brothers seemed to be included just to throw some male authority around, when needed. I did like her brother, Tony, why seemed to care for his sisters’ emotional lives. I wish he was more involved throughout the book. Probably the most interesting character, for me, was Bennet, Granville’s second son who was conceived during an affair between the aristocrat and Harry’s mother. Bennet, at least, seemed to make use of his privilege by standing up to his father and being vocal about wishing he was raised by his mother. Will also had potential, but he seemed to be included to make plot points more convenient. I wish he had his own arc, however small.

Other: Try as I might, I couldn’t get invested in the romance between Georgina and Harry because I felt like I was expected to care about them and their relationship solely based on scenes where I was told they noticed each other’s bodies. None of their interactions felt like they were truly getting to know one another; even when they talked about their pasts or Georgina forced Harry to listen to her fairy tale, it’s very clear that Georgina still has power over Harry based on social rank and class, so it felt like she was entertaining herself more than anything. When they did get together, it felt like it was purely out of lust; there wasn’t much that made me think they enriched each other’s emotional lives, so I didn’t quite believe they were connecting beyond a surface level. Later, when class became a more pressing issue, I don’t think Hoyt showed that it was a significant barrier to their relationship, nor do I think the issue was resolved in a meaningful way - it just simply wasn’t as much as an issue because Georgina gets pregnant. I do think the class dynamics could have been done well if the book acknowledged Georgina’s power over Harry and more was done to portray them as intellectual (if not social) equals (I’m thinking along the lines of Jane Eyre, which also has an employer-employee relationship that ends up working). The mystery could have been a good way to do this, but alas, it seemed like Hoyt didn’t take advantage of that.

TL;DR: The Leopard Prince suffers from bland characters with no real chemistry between the hero and heroine. Moreover, the mystery had little urgency and though the discussion of class had potential, it wasn’t treated as a significant barrier to the relationship or a real lived experience.

#book reviews

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less-than-hash · 4 years

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Point(s) of No Return

I finally got real internet in France, so the first thing I did was purchase Final Fantasy VII Remake.

A few days and 10 million Cura spells later, I finished it. (Term used loosely. I got to the credits.)

It’s fantastic in many ways: gorgeous, obviously (I didn’t experience any of the texture issues (beyond some occasional pop-in) that others have complained of); charming and funny; deeply stylish.

I never knew how much I needed more Moulin Rouge in my FFVII.

I’m perfectly comfortable with what the ending did, though I’m not wildly impressed by the execution. And I’m excited for what comes next while holding considerable reservations about how it’ll be handled.

I also found it an incredibly frustrating game in a lot of ways: every time FFVIIR surrenders camera control to the player, for example, you can feel the game’s resentment; there’s a fair amount of repetition of spaces that doesn’t serve the action; while a lot of people seem to like the combat, I found it pretty messy, inconsistent, and frustrating (though loads improved from FFXV), to the point that I turned down the difficulty towards the end just to spend less time fighting battles.

But none of that’s what I’m here to talk about today. I instead want to discuss a suite of specific design decisions that, in my opinion, really hampered the narrative flow of the ending of the game.

SIGNIFICANT SPOILERS under the cut.

Many games, especially RPGs or other games with open worlds, display a confirmation UI or impress upon the player through dialog (or both!) that the player has reached what we’ll be calling a Point of No Return.

Though sometimes awkward to experience, this is a Very Good Thing (tm): it lets the player know that they’re about to depart the meat of the game for its conclusion and that if there’s anything they’d backburnered and want to take care of, now’s the time to do it.

Theoretically, this also allows the developers to pace the ending of their story in a way that builds towards a climax, something that’s otherwise difficult to do in an open world game due to the player’s nigh-complete control over the pace of play.

And while FFVII:R is by no means open world, it has some open world elements, especially towards the end of its second act. It’s no surprise that it fires the expected Point of No Return bulletin.

But later it does so again.

And again.

The first of these is frustrating for a number of reasons, not least of all its dubious accuracy.

When the characters decide they’ll go after Aerith at the beginning of Chapter 14 (IIRC), the game suggests that doing so will instigate the endgame. This is not true.

What this moment actually serves to highlight are a bevy of new sidequests. Thing is, there should almost certainly NOT be a bunch of new side content dropped on the player at this point. Not because that content is bad (some of it is quite nice), but because the game has just significantly increased the stakes and the pace of its main narrative, and taking time to futz around the slums looking for things to do dramatically undermines that pacing.

I’m not suggesting that this content shouldn’t be there at all - if the player takes time to explore and find sidequests, it’s nice if there’s something there to reward them; otherwise the world might feel empty and unreactive (to the massive tragedy that just occurred). Alternatively, this content could have been placed between (or before) saving Wedge and deciding to go after Aerith (in the period of the game that’s actually focused on the fallout (no pun intended) of the Sector VII Plate).

But having the game beat the player over the head with it right after saying “we’re gonna go storm Shinra now!” (and using Tifa, a character almost as invested in saving Aerith as Cloud, as the mouthpiece to do so) strains character verisimilitude and kicks the legs out from under the story.

But I suppose that’s kinda her bag.

The second Point of No Return comes after returning from, er, the return to the sewers.

This is the actual Point of No Return from the open(ish) world, and the game does a very good job of stating both explicitly through UI and dialog that that’s the case (while going so far as to justify it in the fiction). Had it not been for what came before or after, I’d’ve said “well done” and been on my way.

(I could be wrong here - it may be that some of the Chapter 14 sidequests close off after the return to the Sewers, but if that’s so, it doesn’t seem necessary. Certainly one of those sidequests requires the player to do the return to the sewers, making that initial Point of No Return warning misleading.)

The game then progresses into its Final Dungeon, a sequence at turns confounding and at others fun and impressive. A few hours (and sixty flights of stairs) later, Hojo traps you in his lab and makes you jump through hoops to get out. I have a lot of issues with this section in general, the one most germane to this conversation being the obliteration of the pacing. The game has quite literally told the player to “get to the choppa,” but instead throws them through a pretty low-stakes series of trials without much sense of pressure from time.

Like this, but forever.

Still, the designers manage a couple of tricks towards the end of this sequence to ramp the energy back up (Red XIII’s fall, the big fight with the blade fish).

Then you hop in the elevator, realize that Jenova’s missing, find a trail of alien goop to follow, and make your way to the exit...

Only to hit Point of No Return #3: This Time, For Reals Though.

I like this one as a teaching example, because it’s very clear what the intention is and how it might tweaked to flow a bit better:

What the devs needed to accomplish, in no particular order:

Let the player know that they’re leaving the more open area of the Shinra Building. (Or possibly just Hojo’s lab... you might not be able to backtrack to the lower floors. If that’s the case, I’d argue for cutting this Point of No Return entirely.)

Set up the encounter with Jenova in the next space.

Raise the tension and the stakes. Jenova is clearly an entity of horror. Horror is about tension.

How FFVIIR approached this in the shipping game:

The player finishes the lab area’s final fight, the two parties are reunited, and they take an elevator to Jenova’s tube in the central lab.

Player finds Jenova missing.

Player locates elevator to Shinra’s office.

Game produces a “Point of No Return,” explicitly telling the player that if there’s anything left to do below, they should go do it.

Player may go looking for new stuff to do (or stuff they left undone), ballooning the time between step 2 and its pay off while dramatically undermining tension.

I’d argue that this flow could have been made dramatically better by setting the point of no return prior to returning to Jenova’s tube.

Like so:

The player finishes the lab area’s final fight, the two parties are reunited, and they find the elevator that will take them up.

The game fires the Point of No Return. This makes a lot of sense narratively, too, because last time the party was up there, Sephiroth was up there, too. (This elevator also goes up or down from this floor - the only elevator in the lab that does so - making it a perfect place in the level to put this kind of choice.)

Player can put off the return upstairs for a time if they want.

Player takes elevator up and finds Jenova missing.

Player takes elevator up to Shinra’s office and 4 pays off without the loss of tension.

BAM!

Anyhoo...

We can play backseat developer all day. I’m sure there were reasons this choice was made the way it was, and I’d be surprised if this exact conversation didn’t happen in someone’s office at some point.

I don’t know what the various moving pieces were that led to the choice that shipped. It’s just not the choice I’d’ve made in a vacuum, because I’m confident in saying that - whatever the decision was made in service to - it harmed the narrative’s pacing.

And that’s something that happens. Development is give and take, and sometimes (often) narrative hangs lower on the priority pole than other things.

The last Point of No Return occurs right before the final boss.

Like the first, I’d argue that this one’s unnecessary. The player’s forced by the level design to pass immediately by the very vending machine the Point of No Return suggests that they use, and there’s nothing else for the player to do in that map prior to confronting the Big Bad. The narrative has made it plenty clear that there’s no telling what’s on the other side of that light.

(I actually thought it was a portal to the ending cinematic and credits prior to seeing the Point of No Return text, and would have been very pleasantly surprised by the twist of facing another challenge. Albeit frustrated said challenge was yet another combat in a system I was entirely over by then.)

An autosave at that point would have protected the player’s experience without interrupting flow.

Like whatever hidden trickery moves Cloud from that hole to the top of the slide.

So to bring this to its conclusion:

Points of No Return, while wildly useful, can dramatically interrupt the player experience and undermine narrative tension. They probably shouldn’t be viewed as an opportunity to unlock a bunch of side content, and they should definitely be placed prior to a series of interconnected events rather than in the midst of them.

Until next time, <3 <3 <#

#ffvii remake #final fantasy vii remake #ffvii #gamedev #game design #narrative design

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capsing · 5 years

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ok GoT i’m done

don’t get me wrong, i’m going to watch the last two episodes, but my emotional investment in it vaporized after the last episode

here’s my rant (spoilers for S08E04)

that’s it. character development means nothing. time to wrap things up and don’t forget being hip edgelords. so after pulling through 30 bloody minutes of all the heterosexual couples hooking up, we have:

1. lol you thought tormund’s love to brienne was genuine? lol tormund would actually be ok with every woman ever! it’s not like he was the first man we’ve seen attracted to brienne’s strength and combat ability, which others found unattractive due to them being unconventional. he’s fine, that was just for the kicks, he ain’t that complex and it’s not like he vexed poetry to sandor about her and kept daydreaming about their future children or anything

2. lol you thought ghost mattered? nah man, we just put him there because ya’ll keep whining about him not being there. ghost being jon’s?? oh after sending him to the front lines with jorah (????) now he’s going off with tormund, but that’s not like he has personality or anything, he’s just a dumb blight on our budget, not an actual character which was with jon for many many years. jon would just like glance at ghost and be off. remember when ghost guarded jon’s actual dead body??? haha me neither!!!

3. lol you thought the sandor and sansa thing was heading somewhere and is going to pay off? nah sandor is limited to one (tm) interaction with a main character at all times, and we’re picking arya! so after bazillion seasons and all those subtle hints, we’d let them have a few words, and it’d SEEM like it’s leading somewhere, but then she’d just get up and leave! but hold your horses, she’s going to TOUCH HIS HAND. afterwards he’s leaving because we’re having him killing his brother because fans wanted that, and like, character development? haven’t heard of her

4. lol you thought that gendry/arya or jaime/brienne thing is going to work?? no no we’re too cool for school here. gendry is going to purpose to arya because he’s suddenly into being a lord now, and instead of communicating like normal arya will riddle me this an answer and not tell gendry she’s just not into being a lady of a castle, but she’d be happy to marry him! nope she’s suicidal now, we have a stark quota and we’re overbooked so they dying.

and all that buildup with brienne??? no jaime decided suddenly he’s hateful (we’re not projecting or anything!!) and he’s gonna break brienne’s heart ‘cause after all his character development which made people who hated him in the begining actually like him now and understand him - the scenery of winterfell kinda reminded him that, so he’s jerky mcjerk now and all the joy brienne had is now moot. there’s prophercy to be had biatches (azor ahai??? bless you!)

5. missandei/grey worm?? don’t even get me started, i have a fridge to fill with dead woman here. cool how they somehow managed to capture her in an inexplicable manner to traumatize everyone!!! even better that her last word was really spiteful, telling her friend to burn people alive! whoopie!

6. what are oaths, a book by sansa stark - or, how to make a very sudden political decision without talking with your ALL SEEING BROTHER WHO WAS RIGHT THERE SANSA. SITTING RIGHT ACROSS FROM YOU. A FOUNTAIN OF WISDOM. but like i’d give it a pass because ned kept such secrets and he ended up dying and jon made such stupid decisions sansa you’re still precious hun but nothing good is going to come out of it all sorry babe why do bad shows happen to good characters

7. also danny is demonstrating to the audience how to abuser 101, good thing she wasn’t previously subjected to abuse in the previous seasons and understood that’s an unhealthy way to conduct yourself with people you care about! we’re all about that character growth here

8. remember how mental illness works? neither do the writers of the scripts, but whatevez, really. let’s perpetuate the “crazy people dangerous!!!” thing, with the mad king and all, instead of giving it a more rationalized explanation regarding entitlement and visions of grandeur and whatnot

9. remember danny already faced with the arrow-machine thing?? good, neither does she!!! you’d think she’d want to PUT AN ARMOR ON HER DRAGONS BY NOW, WITH THEM BEING BLACKSMITHS LOYAL TO HER JUST IN HER COURTYARD, AND LIKE, DOCUMENTATION OF IT HAPPENING IN THE PAST. learning from mistakes is dumb and there are dragons to be whammieddd so the stakes would seem higher and the odds of winning even worse! not like they faced actual death last episode, this episode would make sure enough time have passed so people would be actually worried who would win between the humans!

10. why murder characters when you can massacre their actual character amrite???

yeah i think 10 ought to do it that’s mostly it

i’m watching the next two episodes, i couldn’t fathom my expectations to be any lower than they already were (and were they low), but there you have it

i know you’re killing varys, another of my faves. fine. burn him up. whatevez.

//makes shooing motion with hand

(thanks for reading thus far. onwards to ao3 i guess)

#got #game of thrones #gots08e04 #spoilers #gameofthrones #got season 8 #got spoilers #personal #im mostly dissapointed #but hey at least i wrote something i guess #sigh #honestly #that's such a bummer #sniffles in the corner with other sansan fans #sigh2

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talabib · 4 years

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Top 10 Qualities Smart Companies Value In Employees

Employers look for two things when hiring or promoting people: knowledge and skill. They rarely, if ever, consider character. Yet character is the key to extraordinary business success. The Good Ones by Bruce Weinstein presents 10 crucial qualities of high-character employees, qualities that enhance employee satisfaction, client relationships and the bottom line.

Using stories from managers and employees across the U.S. and beyond, ethics expert Bruce Weinstein reveals how honesty, courage, loyalty and patience have helped organizations maintain an edge over the competition.

1. Honesty. All of the 10 qualities are hallmarks of high-character employees, but honesty is the most important one. No matter how knowledgeable or skilled a person may be, if he or she is fundamentally dishonest or doesn’t value honesty, that person is detrimental and possibly even dangerous.

Honesty is above all a feeling, a disposition, an orientation toward the truth. Honest employees cannot tolerate lying, fudging data, misrepresenting themselves or their companies, or other conduct that displays contempt for the truth. Falsehood in all its forms is a poison to an honest person. A company’s power, influence and integrity are a direct function of the honesty of its employees. Obstacles to honesty include success through dishonesty, lying to save money and lying to save trouble.

2. Accountability. Accountable employees do four things consistently:

They keep their promises.

They consider the consequences of their actions.

They take responsibility for their mistakes.

They make amends for those mistakes.

3. Care. Care, like honesty, is first and foremost a strong feeling or passion. Where honesty means having a passion for truth, care means having a deep concern for people’s well-being and flourishing. The passion for making a difference in people’s lives has a profound implication in the business world.

In this context, caring is almost always discussed with reference to other people. But if you are a caring person, consider the following syllogism: Care is the application of your passion for helping people. You are a person.Therefore, care means applying your passion to yourself as well as to others.

A caring employee is, above all else, a servant, not in the way that suggests exploitation, obsequiousness or a harsh imbalance of power. Caring employees serve their organizations, their clients and their team members while taking care of themselves, too.

4. Courage. Courageous employees have the strength of character to say and do things that need to be done. In most cases, this courage has nothing to do with physical strength. Courageous employees are willing to

tell managers things they need to know, even though they might not want to know them

fight for their clients and business

do unpleasant but necessary things

ask for help

Obstacles to courage include fear of being fired, fear of bodily harm, fear of damaging a relationship, fear of humiliation and fear that nothing good will result.

5. Fairness. To be fair is to give to others their due. Fairness is sometimes discussed in terms of justice. Fair employees have a commitment to justice, especially economic justice (paying employees fairly), social justice (ensuring that the rights of employees, such as freedom from discrimination, are respected) and procedural justice (resolving disputes).

6. Gratitude. Gratitude isn’t merely a nicety of doing business. It’s a powerful character trait, and although it’s hard to discern, it’s worth looking for in prospective and current employees. Through their generosity of spirit, grateful employees benefit clients, colleagues and the business itself. They’re more satisfied, more productive and nicer to be around. It’s time to recognize how important gratitude is in the life of an organization and to the people who practice it.

7. Humility. There’s a lot of misunderstanding about what humility is. The Oxford Dictionaries website defines humility as “a modest or low view of one’s own importance.” No wonder, then, that some people have a low view of humility itself.

But humility shouldn’t be regarded as a low view of one’s importance. It is, rather, an accurate view of it. It’s a view of oneself that is based on reality rather than the distortion that occurs when we look at ourselves uncritically or through the fog of our own ego. We can all do without coworkers who take the credit when a project is successful. On the face of it, this behavior simply seems rude. It’s not polite to blow your own horn, we’re taught. Let others praise you. Keep your victories to yourself.

The problem, however, isn’t that such coworkers are impolite: It’s that they’re mistaken. We don’t accomplish great things all by ourselves. We have help every step of the way. Some of that help is behind the scenes, but it is help nevertheless.

If humility is a crucial quality of high character employees, what happens when it is in short supply? Some of the consequences may include damage to one’s reputation, being passed over for jobs and having difficulty accepting criticism.

8. Loyalty. Hiring loyal people and creating a culture that sustains this loyalty provides a strong return on investment. According to the Great Place to Work Institute, businesses whose employees are deeply satisfied (a key indicator of loyalty) have lower turnover, better safety records, superior job applicants and stronger marketplace performance than other businesses do. Let’s take a look at each of the characteristics that define loyal employees.

Loyal employees have strong emotional ties to their employers: Loyal employees are devoted to their employers, but that devotion has and should have limits. Loyalty is devotion, but not blind devotion.

Loyal employees represent their employers honorably: A second way that high character employees evince loyalty to their organizations is through their conduct outside work. A member of an organization is a de-facto representative of that group on and o the job. Loyal, high-character employees recognize this, even if their employer does not or cannot explicitly state it.

Loyal employees stand by their organizations... up to a point: Loyalty to an organization need not mean making a lifetime commitment to it. It can simply be an alignment of one’s behavior with the organization’s values for however long one is employed. Sometimes loyalty must give way to other concerns, such as protecting clients from harm and opposing illegal or unethical activities by an employer.

9. Patience. High-character employees keep pushing on with their mission until they prevail. They don’t allow themselves to be diverted from their path by external forces, and their persistence pays off . Here are the four elements of patience:

Acceptance: There are some things we can change and some things we can’t. To be patient is to know the difference and to act (or not act) on it.

Flexibility: An essential element of patience for Cara Lemieux, a former network news producer and digital communications strategist, is flexibility. Becoming more flexible in her personal life has helped Cara become more flexible in her professional role. This sometimes means taking over for colleagues who have to tend to their own personal lives.

Persistence: In the Journal of Finance, Steven N. Kaplan, Mark M. Klebanov and Morten Sorensen reported that in their study of over 300 CEOs of financial investment firms, the most successful ones were also the most persistent.“Persistent leaders don’t give up,” Kaplan writes. “They stick with assignments until they are done.”

Delaying Gratification: High-character employees are adept at restraining the impulses we all have for immediate satisfaction. They recognize that sometimes our impulses have to be subordinated to a higher good.

10. Presence. Given the reality of today’s world, as well as our need for breaks from time to time, I propose the following definition of presence in the workplace: Presence is being committed to doing one’s work by focusing on a single task for a reasonable period of time. A “reasonable” period varies according to the task at hand and the stakes involved in completing that task.

You probably don’t want the surgeon performing your cardiac bypass to be checking her smartphone. On the other hand, if the job isn’t a life-or-death matter, it’s humane to allow an occasional respite from the steady stream of work. At the heart of presence is focus, the ability to concentrate on one thing at a time. Employees who are focused devote themselves to a single activity in a given period, resulting in more efficient work with fewer mistakes

The 10 character traits are qualities that smart organizations value in their job candidates, employees and managers. Doing so won’t guarantee that the people who work for a company will always make the best decisions, but it increases the likelihood that they will. It’s time to place character front and center in our thinking about business in the 21st century.

#employee qualities #character traits

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